Theatrical Changes

From the first of next month an important change will be made in theatrical management, not only in Victoria but also in the other colonies, which must have a potent effect in determining whether or not the stage, as an influence on the community, is to be more of less powerful than it has been in the past. For many years Mr Coppin, associated with gentlemen whose names have been before the Victorian public for a long time, has been at the heed of theatrical affairs as far as Melbourne is concerned, and during that time the management of the Theatre Royal can fairly claim that not only has the pleasure of their patrons been studied, but that commendable efforts have been made to advance the interests of the drama. The limits of this notice would not suffice to enumerate a very small number of the artists who from time to time have graced the boards; but it is sufficient to say that we have had amongst us men who have acquired a reputation that is worldwide, a result due to the enterprise of those who have catered for the public amusement. Mr Coppin and his confreres have grown grey in management and having reached the age when rest is desirable have transferred the management to other and younger men. On the 1st of July next Messers Williamson, Garner and Musgrove become the lessees of the Theatre Royal, Melbourne and Sydney, The Princess’s Theatre, Melbourne, and the opera House; and we also understand that they are connected with Mrs Allison, the lessee of the principal theatre in Adelaide. Each of these gentlemen has had a lengthened experience of the requirements of the colonial stage. Mr Williamson is an actor who in his peculiar line occupied a foremost position on the stage. Mr Garner was a member of the finest comedy company that had ever visited Australia and has since had a very long experience as a manager in Sydney; while Mr Musgrove, a nephew of the late Mr W S Lyster, made a brilliant success of his first managerial venture when he brought out the Tambour Major company that recently created such a furore at the Opera House. This is a combination of business and dramatic talent that cannot be excelled in the Australian colonies, and must result not only to the satisfaction of the public, but to the pecuniary benefit of those immediately concerned. The new managers propose to produce in rapid succession the latest and best dramatic and musical pieces, with that attention to detail which distinguishes the best English and Continental theatre, and which goes so far to insure the success of a piece, Messers Hennings and Gordon, whose reputation as scene painters is as high, if not higher, than any other two men in the profession, have been specially retained for this important branch of the art, and from the fact that the management intend to keep their theatres always open it is certain that actors will not have the slightest difficulty in obtaining engagements. Mr S French, one of the leading dramatic agents in London, has received carte blanche to forward any new pieces that may be produced in the old world irrespective of cost, and each will be given in exactly the same manner as it is in London or Paris. Orders involving large sums of money have been sent home to augment the wardrobes and scenic accessories of the various theatres, and with the amount of capital that has been put into the concern, it is certain that success will be deserved and is sure to follow, as the Australian public readily appreciate every effort that is made for their amusement. The first performance under the new management will be Patience at the Theatre Royal. This comic opera is said to be the most successful of the many comic operas that Messers. Gilbert and Sullivan have written, and will be produced with an exceptionally strong cast, backed by all the assistance that scenic effect and stage mechanism of the highest order can give. The company will probably include misses Alice Ross, Beaumont, Verdi, Vernon and Ford, besides others of lesser face, assisted by a capable chorus, and an orchestra under Mr Van Ghele, which is sufficient guarantee for its excellence. Patience will be succeeded by La Mascotte, a French opera bouffe of something the same character as Madame Favart, and which has been a great success in London and Paris. La Mascotte will be followed by Billie Taylor, and this in its turn, will give way to a dramatic season, which will commence with The Lights of London, Mr Rignold and the company which recently played Youth being the dramatis personae. Other novelties will follow, and the dramatic season will continue up to Christmas, when some new comic operas will succeed. On the 9th July Miss Emilie Melville, who was a great and deserved favourite when she last appeared before a Melbourne audience, will open at the Opera House in La Perichole with a strong company, but for obvious reasons the names at present are not given. She will continue the season until the time when Messrs. Wallace and Dunning’s occupancy commences. These gentlemen are now in England, and according to recent advices are engaging a strong company, and securing some novelties with which to commence their season in November next. At the Prince’s the Grasshopper will be succeeded by a farcical comedy entitled Where’s the Cat, which has been a wonderful success at the Criterion Theatre, London, and on its withdrawal Miss Jennie Lee’s company will probably go to Sydney, and Miss Melville will appear at the Princess’s. The companies of the three theatres will visit Sydney at intervals, and the whole of the houses under the presented management will be improved and redecorated before any representation is given. Altogether a new order of things is promised, and if it is carried out, as we have no doubt it will be, not only the public, but the profession, will be the gainers.