John Black

Charles Lamb, in an essay on some old actors, remarks that the casual sight of on old playbill which he had picked up brought back such a flood of memories that he was constrained to 'write them up.' Lamb says : 'These old remembrances makes us feel how we once used to read a play-bill, not as now, peradventure, singling out a favorite performer, and casting, a negligent eye over the rest, but spelling out every name, to the very mutes and servants of the scene.' This was written over 80 years ago, and the words are applicable to-day. There is no greater delight to an old playgoer than in turning over a sheaf of old play-bills and living in the past, and with these dead and gone actors recalling happy days that are no more.

Next, perhaps, to the delight of recalling the actors and actresses of our boyhood days is the present delight of running through old books and papers, musty with age; when in search perhaps of one object you light upon another and are equally a gainer of pleasure. One day recently, to get rid of some cobwebs which had gathered about the brain, I strolled among some of my old familiar friends, the second-hand booksellers of Sydney, and in the shop of Mr. J. Murphy, 22 Castlereagh-street, I came across what was to me an almost priceless treasure, a copy of the play-bill of the opening night of the old Queen's Theatre, Melbourne, now nearly 60 years ago. Mr. Murphy very kindly presented me with the relic, and as it brings back to earth, in memory, some of our ancient favorites, I may be excused for quoting it in extenso.

QUEEN'S THEATRE ROYAL,

QUEEN-STREET, MELBOURNE.

OPENING NIGHT.

THURSDAY EVENING, MAY 1, 1845.

The proprietor having completed his arrangements for the opening of the New Theatre Royal, Queen-street, on the above-named evening, has the honor of announcing to the patrons of the drama —the public of Melbourne and its vicinity—that he had secured all the available talent in the province, and is in communication with neighbouring colonies for the purpose of adding strength to his company.

Previous to the rising of the curtain an opening address will be delivered by Mr. Nesbitt.

ON THURSDAY EVENING, MAY 1, the performances will commence with Tobin's celebrated Comedy (in five acts),

THE HONEYMOON.

Duke Aranga ……………… Mr. Nesbitt

Balthazar ………………….. Mr. Capper

Count Montalban …………. Mr. Boyd

Rolando ………………….... Mr. Cameron

Jacques …………………….. Mr. Lee

Lampedo ………………...… Mr. Cochrane

Campillo …………………... Mr. C. Boyd

Lopez ……………………… Mr. Miller

Servant …………………….. Mr. Jacobs

Juliana ……………………... Mrs. Cameron

Zamora …………………….. Mrs. Knowles

Volanto …………………….. Mrs. Boyd

Hostess …………………….. Mrs. Avins

Villagers …………………… Messrs. Jones and Smith

In Act 4 a rustic dance incidental to the Comedy.

End of the Comedy, an Admired Song by Mrs. Knowles; a Comic Song by Mr. Miller.

To conclude with the laughable Farce of the

UNFINISHED GENTLEMEN ;

or

BELLES, BEAUX, CANTABS AND TIGERS.

Lord Totterley (an

Adonis of 60) ………………. Mr. Capper

Hon. Frisk Flammer ………... Mr. Boyd

Jem Miller (an Incipient tiger

or gentleman's gentleman)….. Mr. Miller

Charles Danvers ……………. Mr. C. Boyd

Bill Downey (an unfinished

gentleman, a polished philoso-

pher) ………………………… Mr. Lee

Bailiffs ………………………. Messrs. Cochrane and Jones

Louisa (with songs) ………..... Mrs. Knowles

Chintz ……………………..… Mrs. Cameron

Doors open at half-past 6. Performance to commence at 7 precisely.

Dress circle 5s, half-price 3s ; upper Circle 4s, half-price 2s ; pit 2s 6d, half price 1s 6d ; gallery 1s 6d, no half price.

Proprietor, Mr. Smith ; stage manager, Mr. Nesbitt; mechanist, Mr. Capper.

Vivat Regina.

* * *

Mrs. Avins was the last of the thespians who opened the "old Queen's" to "Pass over." She died in the Actors' Homes, built by Mr. George Coppin some years ago. Mrs. Avis had been a subscriber to the Dramatic and Musical Fund founded by Mr. Coppin, which gave her a claim on the Homes, of which she availed herself.

Mr. Capper died between the ages of 80 and 90 years. I had the pleasure of meeting the ancient on more than one occasion, long after he had retired from the stage. He was particularly fond of reminiscing both in the newspapers and on the platform and was as full of old lore as the hungriest antiquarian could desire. Mr. Capper wrote a book, about which more at another time.

Six weeks later, the success of Mr. John Thomas Smith's theatre having precipitated matters, Mr. George Coppin, with a company, crossed over from Launceston, under the following agreement ; —

''Theatre, Launceston,

“May 30, 1845.

“We, the undersigned, hereby agree to proceed to Melbourne by the brig Swan, and to perform there under the management of George Coppin, Esq., for a season, and to return to Launceston when required, he paying passages both ways; and we also bind ourselves under a penalty of £25— to be paid to the said George Coppin— that we will not perform at the Melbourne Theatre, or any other place of amusement, unless it is under the management of the said George Coppin, or by his free will and consent.

'”Signed) Mr. and Mrs. Rogers, Mr. and Mrs. Charles Young, Mrs. and Miss Thompson, Messrs. F. B. Watson, E. A. Opie, J. Hambleton, J. Wilks, B. Rae, J. Megson, W. Howson, A. Howson, and A. M'Donald.”

Mr . Opie, or one of the same name, was a scene painter, and Mr. J. Megson was leader of the orchestra.

On arrival Mr, Coppin found that he could not come to terms with Mr. J. T. Smith, who, by the way, was also the proprietor of the St. John's Tavern, next door, and sooner then be "stuck," or allow the monopolist to dictate his own terms, Mr. Coppin engaged the large room at the Royal Hotel, in Collins-street, where afterwards stood the well-known and much-frequented, and where now stands the Union Bank of Australia, with a firm determination to oppose the theatre. John Thomas Smith appears to have taken fright at the energy of the man from Launceston, and came to terms. What these terms were, Mr. Smith announced in his playbill:-

QUEEN'S THEATRE ROYAL,

Queen-street, Melbourne.

The proprietor is happy to announce to his friends and the public generally that he has entered into an agreement with Mr. Coppin and the entire of his Corps Dramatique, to perform alternate nights with the present company for one month only. Trusting the greatest combination of talent ever witnessed in any of the colonies will receive the patronage and support it will ever be his study to deserve.

On Saturday evening, June 21, 1845, the entertainments will commence with Sir E. Lytton Bulwer's celebrated play (In five acts), entitled the

LADY OF LYONS.

Claude Melnotte ………… Mr, Charles Young

Colonel Damas ………….. Mr. Rogers

Beauseant ……………….. Mr. Thompson

Glavis …………………… Mr. Coppin

Mons. Deschappelles Mr. Watson

Pauline ………………….. Mrs. Coppin

Madame Deschappelles … Mrs. Watson

Previous to the play, and during the

evening, the band will play : — Overture, 'Italiana in Algero' (Rossini); overture, 'Fra DiaVolo' (Auber); .quadrille, 'Royal Irish' (Julien).

Wreath dance ……………. Mrs. Chas. Young

Song—

'Should He Upbraid 'Me …. Mrs. Rogers

Comic song ……………… Mrs Hambleton

Mr. and Mrs. Charles Young will dance the 'Tarantella,' in the costume of the country.

To be followed by an entirely new interlude (never acted here), called

THE FOUR SISTERS.

An entirely new comic double, Irish Jig by Mr. and Mrs. Charles Young.

The whole to conclude with the very laughable farce of the

TURNPIKE GATE.

Crack the Cobbler …………. Mr. Coppin

Joe Standfast ………………. Mr. Rogers

Nights of performances during the present month Tuesdays, Thursdays, and Saturdays.

On Monday night will be produced Howard Payne's celebrated tragedy of

BRUTUS,

By the members of the Melbourne Company.

On Tuesday evening will be produced the celebrated comedy of

THE SOLDIER'S DAUGHTER,

And a variety of entertainments by the Launceston Company.

The prices of admission and the time of opening were as on the first night of the theatre.

*************

Sixty years ago the playgoers of Melbourne got enough for their money. Those who recollect Charlie Young as a comedian will try to imagine him as Claude Melnotte, and then the Tarantella and double Irish jig! and the afterwards classic Mrs. Charles Young-Herman Vezin dancing a double Irish jig. I won der what London Haymarket audiences would have thought of it. However, it would appear as if, in the long ago, all thespians engaged for general utility and general usefulness. You won't require the fingers of one hand to count those of these double bills who new remain on earth.

After a time the amalgamation of the companies took place under the sole management of Mr. Coppin, Mr. J. T. Smith (the proprietor) taking a share of the profits for his rent. I have obtained an insight into the methods and cost of working an early-day theatre. Leading actors in 1845 received from 30s to 40s a week, and were satisfied. Ten years afterwards the same class of actor got from £7 to £12 per week. The entire working of the Queen's Theatre in 1845, with the combined companies, in expenses, was under £60 a week. What profits the manager and lessee must have divided !

What accounts we read of the same old Queen's in the golden roaring 'fifties, when red-shirted, sun-browned diggers, 'lucky diggers' lounged in the dress circle, smoked their pipes, called out to their acquaintances in other parts of the house, pelted their favorites on the stage with golden nuggets, and drank champagne at fabulous prices, ate and drank, sang and danced, as if the good times were never to end. And while the theatres crowded nightly with prices quadrupled, the St. John's Tavern adjoining did a roaring trade. John Thomas Smith, a Magistrate and a member of the City Council, raked the shekels into the till in bucketfuls. The daily and nightly saturnalia beggared description. The time and place are apropos for an incident, which occurred in the early days of the Queen's Theatre and St. John's Tavern.

In July 1846, the neighborhood of the theatre was the scene of an alarming riot, which kept Melbourne in some excitement for more than a week, and threatened at one period to end in a

general fight between Orangemen and Roman Catholics. The Orangemen decided to celebrate the anniversary of the Battle of the Boyne by a banquet in the Pastoral Hotel, which stood on the north-east corner of Queen and Little Bourke streets. The building was

decorated for the occasion, and Orange flags were displayed on polls from the windows facing Queen-street. This display aroused the passions of the R.C's., who assembled in hundreds round the Pastoral Hotel, many on both sides being armed. The Mayor, James Frederick Palmer, hurried to the spot. He ordered the door of the hotel to be opened, and entered, for the purpose of putting a stop to the riot ; but the R.C's., now finding the door opened, rushed through the hallway to the staircase, where they

were met by the Orangeman, and a regular battle ensued.

J. F. Palmer was a medical man, who, on arrival in Melbourne, found that the manufacture of gingerbeer and cordials would pay better than would the vending of Epsom salts and jalap. Palmer in after life became Speaker of the mixed Legislative Council, and President of the Legislative Council under Responsible Government. The doctor was squat, fat man, with a pair of calves that would have been the envy of Dr. Dill Macky to-day.

The crowd in front fired into the hotel, and 'Yellow-bellies' quickly responded. At this moment Father Geoghegan arrived and attempted to restrain his parishioners. As the good old padre (he was the first priest in Melbourne, and became Bishop of Adelaide); was in some danger of getting an ounce of lead, John O'Shannassy and a Mr. Hurley went over to his rescue, when Hurley got a bullet in the shoulder. Another man, drinking a glass of ale in the bar of the St. John's Tavern was badly wounded in the cheek, the shot having crashed through the bar window. The riot now was at its height; the doors, windows, and the furniture of the Pastoral Hotel were demolished ; the one party attacking the building and endeavoring to force an entrance, the other , defending every inch of ground. Fortunately some soldiers appeared upon the scene, and temporary peace was secured.

The R.C/s were induced to disperse by the promise of Dr. Palmer, and his brother magistrates that the Orange dinner should not total place. Three or four persons were badly wounded in the riots. Several of the Orange party were taken into custody and bound over to keep the peace. Mr. William Hinds, a grocer of Queen-street, was charged with firing the shot which wounded Mr. Hurley, and was committed for trial. The town was alarmed the whole of the night by skirmishes between detachments of both factions. On the following day the rival

greens and yellows assembled in different parts of the town. The whole of the hotels were closed by order of the authorities. Many of the shops were shut, and a dense fog, perhaps opportunely settled down upon the town. The police and military were called out, and having formed in Market-street, proceeded to an hotel in Flinders-street, where fifty Orangemen were assembled, but who quickly dispersed when the military and police appeared. They next proceeded to the top of Flinders-street, where afterwards stood the Stork Hotel, where some eighty Roman Catholics were assembled. After some hesitation these were persuaded to go to their several homes. The town was put under martial law for the night, and the soldiers bivouacked in Collins-street, opposite the Royal Exchange Hotel, which stood where the Bank of New South Wales stood thirty years ago. This riot gave birth to the Party Processions Act, prohibiting any party flag from being explayed under any circumstances in the colony of New South Wales, an Act more honored in the breech than in the observance.

The old Princess' Theatre, in Spring street, was built in 1854 by Mr. G. B. W. Lewis, who married Rose Edouin. It was of corrugated iron, and called Astley's Amphitheatre; and therein, with a good stud of trained horses, gave the uproarious diggers the delight of a circus. In 1857 John Black, who built the Theatre Royal in Bourke-street, bought the place, and, by adding a stage, etc., converted it into the Princess' Theatre, wherein Joseph Jefferson made

his first appearance. Of the great American actor-manager more hereafter. While George Coppin was building the Olympic — or 'iron pot'— John Black was building the Theatre Royal. That was in 1855. Mr. Black, in three years, made a huge fortune— or 'pile,' as the diggers named it— as a carrier between Melbourne and the diggings. His long line of drags and wagons were the means of supplying thousands of diggers with the necessaries of life, as much as £100 a ton being paid as freight to Bendigo, 100 miles from Melbourne. Mr. Black's great ambition was to own a theatre, and a fine building he erected. It was the first building lighted with gas in the city. The streets were then lighted with oil lamps, though a company had been formed, and was building its works on the Yarra. Mr. Black, however, built his own retorts, and made his own gas. Black thought that he could manage a theatre as well as he did his horse and bullock teams, but he found to his cost that the two enterprises took a totally different stamp of man to control. After a year of small successes and some heavy failures he leased the theatre to George Coppin, who immediately transferred G. V. Brooke and his company from the 'iron pot' to the Bourke-street establishment. The Theatre Royal was opened with 'The School for Scandal,' Mr. G. H. Rogers being the Sir Peter Teazle. The old Royal had many ups and downs from the first day that John Black opened it, and numerous owners, mortgagees, lessees and managers tried their luck in it. Few, outside the actual covenanting parties, knew who really did own the Royal. Fred. Bayne, the solicitor, had some big interest in it in the late fifties, as he claimed and got the free use of a stage box. The dress circle entrance was on a different leasehold, and at one time complications were threatened. In the late fifties Brooke and Coppin were lessees. The pair dissolving partnership, Brooke retained the Royal, Coppin taking the old Olympic and the Cremorne Gardens. Brooke at this time should have been worth £50,000. Henry Edwards and George Faucett Rowe became managers after Bob Heir had resigned. Brooke went travelling, and things got messed up generally. Then Ambrose Kyte, with a rent roll of about £10,000 a year, came in, lending the management money and getting the lease as security. He put Barry Sullivan in, and for some years the Royal was the best-conducted theatre in the Southern Hemisphere.

(To be continued.)

Mr Black and the Theatre Royal – It will have been observed by an announcement yesterday in our impression of yesterday, that Mr John Black, the projector and father of the Theatre Royal, has sequestrated his estate; and that he has been obliged to go into the Insolvent Court. We understand the immediate cause of this result was an enormous claim from the ground landlord, or the person claiming to be the ground landlord. We have no wish to intrude into the private affairs of individuals, and though theatres and theatrical managers belong rather to the public things and public men of the time, we only allude to the topic in its relation to the gossip of the day. On dit that the formidable demand made by the representative or holder of the fee is mere moonshine; but that the only remedies for the case were an action of replevin, which would have been necessitated finding bail for nearly £5000, or the sequestration of whatever estate Mr Black might have in the property. The latter alternative was the more facile remedy and hence its adoption. We understand that this act will not interfere with the management of the theatre, nor with the proprietor of the establishment, Mr Bayne. Still less has it any connexion with the affairs of Messers Spiers and Hennelle, the respectable parties who are the lessees of the licensed hotel facing Bourke street, and who are secured against all interference by the hands and seals of all persons interested in the property. We may add that he means adopted by the claimants of the property is in point of fact only an intrusive, but very energetic mode of asserting their rights, real or supposed; but which however just, well-laid and legal, are at any rate at the present time the subject of undecided litigation. R. E. Jacomb, Esq., is appointed the assignee of Mr Black’s estate.

Ashley v. Bliss 

For plaintiff, the Solicitor-General and Mr Wood for defendant, Mr G. A. Stephen.

An action on replevin to recover the amount of a bond given by defendant to the sheriff for the prosecution of an action to recover damages for an excessive distress for rent made by plaintiff on one John Black, the lessee of the Theatre Royal. The action was not brought, and therefore the present action was brought to recover the amount of the bond.

In 1855, Mr John Black was the lessee of the Theatre Royal, in Bourke street, and being in default of payment on his rent, his goods were distrained, and were at once replevined under a bond for the amount of double the value of the goods, that Black would institute a suit against the landlord for excessive distraint for rent. Defendant joined in the bond to the sheriff, who endorsed it over to the landlord as his only security for the rent.

The Solicitor-General, having stated these circumstances, called Arthur Theodore Wilson, clerk to Messer’s Bennett and Taylor, who proved the signature and seal of defendant to the bond. Lewis Ellis proved the signature and seal of the Sheriff to the bond.

Edward Ashley, merchant and proprietor of the Theatre Royal, proved that £458 was due for three quarters rent at the time of the distraint. The goods distrained were worth more than the amount of rent due. Everything on the premises was seized. The bond produced was assigned to witness by the sheriff. Black brought no action against witness on this distraint, nor did he serve him with a writ.

Cross-examined by Mr G. M. Stephen, Black has not paid the rent; never promised Bliss not to hold him responsible for the bond.

Another witness was called, but his evidence was of no value.

 Charles William Stuart, sheriff’s officer; Remembers the distress in question. Delivered over the goods from plaintiff’s bailiff to defendant; did so on the replevin; cannot say anything of the value of the goods.

Plaintiff’s case closed here.

Mr G. M. Stephen moved for a nonsuit on the ground that the bond being taken under a statute the terms of that statute should be strictly carried out. This act is 15 Vict., No. 2 which is a transcript of the 11 George 11 which prescribes the form of the bond which in this case is drawn up under the common law procedure act which was not passed until long after the bond had been given. He cited Jackson v. Hanson, 8 Mus., and Wells; and Edwards v. Chalin. The variance in the words of the bond cause the bond produced not to be the same as that set out on the declaration.

His Honor over-ruled the objection.

Mr Stephen addressed the jury for the defence. His Honor summed up the evidence and explained the law of the case and the jury gave a verdict for plaintiff damages £400

As this magnificent Temple of the Drama is announced to be opened for the first time on Monday evening next, a narrative embodying the history of the edifice, and a description in detail of what has already been affected may be interesting. We accordingly now present to our readers the whole of the particulars with respect to the subject which have come under our notice, and which we confidently expect will be considered by all who have read in these columns our statements from time to time in relation to the progress of the extensive undertaking, as a full and sufficient warranty for our previous remarks.

The idea of erecting a large theatre in Melbourne originated with Mr John Black, who, notwithstanding many impediments which have periodically opposed themselves to the work he took in hand, has now the satisfaction of seeing his design practically carried out. The magnitude of such an undertaking, the immense outlay of capital involved, and the difficulty of obtaining a sufficient supply of skilled labor, would have deterred many from entering into a speculation the profits to arise from which could not be immediately depended upon, had not the loss of interest, and, indeed, the great risks attending the investment, been sufficiently calculated to operate in that direction. But Mr Black had already signaled himself by his erection of the fine building known as Tattersalls, and the energy of character which he is known to possess no doubt prompted him to undertake a work which it is certain would have been immensely profitable had it been completed in the time originally intended, or had not the pecuniary circumstances of the colonists experienced so marked a change during the last twelve months. The rest was, however, incurred and it will now remain with the public to decide whether the £60,000 spent for their advantage in the erection of the Theatre Royal has been fruitlessly laid out. Our particular business at this moment is to lay before them a statement showing how far Mr. Black’s enterprise merits their support.

The site of the new theatre was a fortunate selection, being, perhaps, the very best that could have been made, as it is central, and has the additional advantage of abutting on the most populous street of our city. The premises have a frontage of 91 feet to Bourke street, and extend through the allotment to Little Bourke Street, the depth being a little over 313 feet. The buildings cover an area of upwards of half an acre. The architectural peculiarities of the front elevation are massive and elegant. It is in the Corinthian order, and the entablature and pediment are supported by four nobly-proportioned columns: the former is continued to the side walls, and additionally upheld by elegant pilasters. This portion of the theatre is designed with much artistic skill, and when plastered will be one of the handsomest edifices in Melbourne. The archway beneath the pediment forms the principal entrance into the building, and conducts, through a lofty covered way, to the spacious and beautiful hall which was for some months used as a concert-room. The lower portion of this hall is built in the Ionic order, the entablature being supported by twenty-one pilasters of which the upper are of the Corinthian Order. The doors to the east of the archway lead to the refreshment rooms, and the private apartments belonging to the hotel, and the entrance to the dress circle, are also in that direction. The arrangement with respect to the approach to this circle has been admirably contrived, as the entrance is distinctly separated from any other portion of the building, and leads to no other division of it. The rooms over the bar on the hotel on one side, and the restaurant department on the other, will be appropriated to the use of the visitors to the dress and upper circles, that to the right being for the former, while that to the left will be laid out as a refreshment saloon, communicating with the latter. The façade of the theatre is at the northern extremity of the hall, directly opposite the covered archway. It is recognised by the words “Theatre Royal” engraved on the frieze and is embellished by a well-executed piece of Relieve work, placed over the Corinthian entablature, and representing the “Triumph of the Muses,” who are depicted according to their several attributes. The facade to the entrance hall has three large doorways, of which the centre one leads to the pit; that on the right, to the stalls; and that on the left, to the upper circle. The last is reached by a handsome winding staircase, and on the first landing there is an opening which communicates with the saloon. The entrance to the dress circle we have already stated to be from a distinct building at the eastern extremity of the front of the theatre. The staircase extends 100 feet, and the visitor to this part of the house has the extra accommodation of a waiting room. There are also two apartments in which cloaks and other outer apparel can be left, and they will have communication with the principal saloon. Both of these upper saloons have been decorated in the most expansive style, and every attention appears to have been paid to ensure the visitors comfort, as well as to please his eye.

The interior of this magnificent theatre even surpasses the anticipations of the person who has only seen the outside, and marked the admirable taste and ingenuity displayed in the arrangements of the various approaches. Its dimensions as well be seen by the measurements which we subjoin, even exceeds in many particulars, the great theatrical establishments of Covent Garden and Drury Lane. But the comprehensive beauty of the arrangement of the auditory in every part of the house strikes the visitor at once, especially when looking from the stage, as of no ordinary character, and reminds him at once of the interior of Covent Garden Theatre since its reconstruction. The admirable proportions of every part, and the adaptation of the position of the seats in the boxes, the flooring of which has a gradual inclination towards the stage, for a complete view of what takes place thereon, are at once remarkable, and testify to the skill of the architect and his thorough acquaintance with the kind of operations entrusted to him. In extent of depth the theatre is, altogether, 212 feet, counting from the extremity facing the entrance hall to the back of the stage. The audience portion of the building comprises three ranges of galleries, the two lower being the dress and upper circles, and the third the gallery proper. The sides of the last are partitioned off for slips with which the upper circle communicates. The parterre divided into the pit and stalls is extremely large, extending the whole length of the building and carried under the boxes round the house. The stalls consist of the first seven seats counting from the orchestra. The dress circle is well arranged, the seats having stuffed backs and cushions. There are seven private boxes in this tier, some of which have accommodation for four and others for six persons. They are constructed upon a novel principle, being placed at the rear of the first unenclosed seats. The upper circle has two private boxes on either side, exclusive of those in the proscenium, to which we shall presently refer. The gallery has seated capacity for 700 persons, and also appears well adapted for sight. The accommodation is altogether adapted for 3300 persons.

The proscenium is of remarkably handsome construction. On each side, rising from the base formed by the flooring of the stage, are two demi columns, of the Corinthian order, and the fluting and capitals of which are richly gilded. These support an entablature, of which the medallions are beautifully picked out with gold. Over the centre of the proscenium arch, which is of the best model, is the Royal arms, in alto relievo, with the supporters couchant, and elaborately decorated in burnished gold. The wings of the proscenium contain three private boxes on each side, which will, it is said, be finished in the most elegant manner.

The principal ceiling is constituted by a vast circle, including two lesser, the latter being subdivided into numerous panelled compartments, having borderings ornamenting it with floral clusters, encircled by amulets. The large spaces are adorned with objects of classical design, the whole radiating from a superb centre of Papier Mache, and carrying out the design of a halo or glory. The carved ceiling over the proscenium is a continuation of the grand roof of the auditory.

The fasciae of the box tiers bulge or swell outwards in the graceful manner observable in Covent Garden Theatre, and will be decorated with rosette and wreaths in running patterns, the prevailing colors being cerulean blue and light pink. The back and sides of the dress and upper circles are covered with a handsome papering of a dark crimson; in the slips, the prevalent color is marone, while the walls of the pit are covered with a representation of oak panelling. To the gallery and upper circles are attached sixteen handsome brackets, suspending highly wrought chandeliers, modeled in Papier Mache in Louis Quatorze. These are exceedingly handsome and have been fabricated on the premises; they are richly gilt. Each chandelier has five burners.

The act-drop is a clever adaptation of Turners celebrated picture of Ancient Rome. The view is surrounded , as if enclosed in a frame, by a well-executed border, upon which is depicted sportive Cupids, so, the effect of the whole being heightened by the points being marked out with gold. The principal artist engaged upon this extensive work is a Mr Horne, who has certainly as far as the effect of the picture can be judged of by daylight, admirably succeeded in transferring to his own canvas the magnificent style of the great English master. Mr Horne appears of have received efficient aid from Mr Holmes, and other assistants, of whose names we are ignorant. The weight of this scene, with the roller and necessary adjuncts, is about 800 lbs.

In order to give the public an idea of the extent of this remarkable edifice we place before them a comparative statement of its dimensions with those of Covent Garden and Drury Lane Theatres, the first column of figures referring to our Melbourne Theatre Royal, and the second and third respectively to Covent Garden and Drury Lane:-

(Measurements in feet)

From curtain to back of boxes 76, 75, 78

Width across boxes 64, 65, 70

Width of proscenium 45, 42, 46

Width of curtain 38, 34, 35

Extent from curtain to orchestra 12, 13, 12

Extent of stage 100, 68, 96

Depth from upper floor to mezzanine Floor 8, 8, 10

Height of flats or transverse scenes 21, 21, 21

Width of ditto 14, 14, 14

Height of wings 21, 21, 21

Width of ditto 8, 8, 8

The extent of the accommodation is as follows:- dress circle 450, stalls 200, upper circle 600, slips 150, pit 1100, gallery 700, 15 private boxes 90. Total seated capacity for 3300 persons.

The theatre throughout has been erected with every regard to the proper conveyance of sound – the circle at the rear of the boxes being constructed of solid brickwork, and the whole plastered. Great care has been especially taken to avoid sharp angles. The magnificent sweep of the stage will, of course, afford the means of producing spectacles with a splendour of mise-en-scene hitherto unknown in these colonies. At the back of the stage are the green-room, managers office, and the dressing-rooms, and wardrobe depository. The stage floor has been laid down in accordance with the latest improvements, being pierced in all directions for traps and the raising and descent of machinery. There is splendid cellarage accommodation which extends beneath the entire stage. The tires over the stage, and which are technically known as the ‘Flies” are set in two stories which are supported by the side walls and by trusses from the roof, and upon these the windlasses and machinery for raising or lowering the curtain, act-drop, and upper scenery are stationed.

In the rear of the building extensive gas works are in course of erection, and are to be finished by the opening day. An immense tank has been sunk, of 25 feet in diameter, and which holding capacity for 38,000 gallons of water. The gasometer will contain 7000 cubic feet of coal gas. The gas will be supplied from six retorts of large size, and the purifying and condensing apparatus is on the same extensive scale. The works have been erected by Messrs Laurie Layton, and CO., of this city, at an immense expense. The works are calculated to supply 600 burners.

Our inquiries having also extended to the nature of the foundations, we find that they have been laid upon a thick stratum of clay and are in several places ten feet deep. The walls to the height of twenty feet, are built with fire-brick, and these were allowed to rest for several months before finally built upon, so that it would appear that there is no chance of settlement. The roof has been constructed from a design furnished by Mr Merritt, the architect of the Victorian Exhibition building; and the building has from the very commencement been under the immediate superintendence of Mr Black, whose own experience in the conduct of extensive building operations has been combined with that of Mr Powell, of this city, from whom he has received the most effective assistance.

For a list of the company, we must refer our readers to the advertisement in another column, by which it would seem that every attention has been paid to the securing of all the available histrionic and instrumental talent in the colonies. A great proportion of the members of the company have not hitherto made their appearance in Melbourne, but from the professional reputation of many of them, high expectations of excellence are held out. The stage will be under the direction of Mr Charles Poole, whose lady has been retained for what is designated leading business. Mrs Poole made her debut in Sydney about two months back, with considerable success, and we have heard several competent judges express a most favourable opinion.

The band is also the most effective one certainly that could be collected in Victoria. It will be conducted by Mr E. Thom, whose high attainments in his profession are acknowledged in England, as well as here. The principal scenic artists are Messer’s Horne and Holmes, Opie and Fry.

In order to ensure the complete respectability of the audience on the opening night, as well as to prevent an overcrowded attendance, the prices on that occasion will be raised beyond what is intended to be the scale for subsequent adoption. The opening address will be delivered by Mr Black, the proprietor: and the dramatic performances on the first night have been arranged to include Sheridan’s “School for Scandal”, a ballet divertissement, and the farce of the “actress of all work”; in the latter of which the celebrated infant actress, Miss Anna Marie Quinn, will make her debut.

Our attention has been directed to an [illegible] restriction which at present is imposed by the Governor in granting licences for dramatic entertainments – we allude to the prohibition of performances on Saturday evenings. In referring to this we do not wish it to be implied that it requires the opening of a large establishment like the Theatre Royal to attract our notice to this manifest absurdity. Some time back Mr Coppin endeavored to get up a memorial in favour of the theatres of Melbourne being, in respect to Saturday Night performances, placed on the same footing as those in Sydney: but he was not supported by some of the proprietors of the establishments which then only existed. The ridiculous notion that theatrical performances ought expressly to be forbidden on Saturday nights, when musical entertainments, including performances of vaudevilles, such as were played by the Nelson Family, and others, were allowed ought surely to be apparent in this day. Casinos and public houses are permitted to be open, and indeed it would almost appear that the sapient individual, whoever he was, from whom this nonsensical but oppressive restriction originally emanated, was so far blinded by his bigotry as to forget that his prohibition was in fact tantamount to forcing the public to the low dancing saloons and concert rooms for amusement, to the discouragement of a rational and improving entertainment such as the stage affords. We are informed that there is, in fact, no law under which the prohibition of theatrical performances on Saturday evenings can be maintained; and we therefor trust that his Excellency will at once see the necessity for dispensing with the annoying qualification contained in the present form of license, and which not only operates to the great disadvantage of the theatrical manager, but is decidedly an undue interference with the amusements of the public.

“La Sonnambula” was repeated last evening for the third time, to a well-filled house, and the applause was as hearty as it was occasionally undiscriminating. On Monday night, Mr. John Black takes a complimentary benefit, under the immediate patronage of Sir Charles Hotham.