THE THEATRE ROYAL. (1855, July 10).

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.