ANNALS OF THE TURF AND OTHER PASTIMES In New South Wales and Elsewhere. No. LXXV.

While Mr. G. V. Brooke was earning golden opinions from all sorts of people, away from his business headquarters, Melbourne, his affairs were in anything but apple-pie order. I have no doubt his managers, Robert Heir (first) and Henry Edwards and George Fawcett, did their best. But theatrical managers are born, not made, and however brilliant an actor may be, he may, as a businessman, be the veriest duffer that ever donned a stage wig. Other matters may have helped in a degree to bring Mr. Brooke's finances down. While he and Mr. Coppin were in partnership the opposition in city theatres was the old weather-beaten matchbox known as The Princess', which had a very different company, and the ancient Hippodrome in Lonsdale-street, which had a precarious existence in several names, The Lyceum, The Prince of Wales, etc. While the Royal was being run by Coppin and Brooke, the old Olympic— the 'Ironpot'—was kept carefully closed as a theatre, though it was a rent-producing establishment, with the Olympic Hotel on the corner, run by William Pitt, the scenic artist. The Olympic pit was boarded over, and each night (and morning) the light fantastic toe was tripped on the most 'Continental lines.' Cremorne, of course, was only open in the summer months, when the free end easy of Melbourne could enjoy George Coppin's gondola trips with quiet chats in cozy corners, with the girl of your heart, or with the girl who cared little for your heart if you had a soft head and a long purse.

I mentioned previously that when George Coppin separated from Brooke he took with him most members of the old company. With that company and additions, George Coppin rehabilitated the old 'Ironpot,' and commenced a dramatic season. I was there on the opening night, the first I had ever been in the 'Pot.' The play was Falconer's comedy of "Extremes," or "Men of the Day." The cast, a strong one. It is an every-day costume comedy, rich, plebeian
and poverty-stricken aristocrats, the latter with a design upon the vast wealth of the former. A wealthy coal mine owner left his fortune of over a million to two persons, on condition that they married within six months. At the reading of the will the Lancashire cousins were looked down upon by their aristocratic-beggared friends, but the aspect of affairs changed when it was found that the old Lancashire woman, Mrs. Wildbriar, was worth half a million in her own right, while her daughter Jenny had a few thousands of her own, and the clodhopping son, in the red vest, owned to a big pile irrespective of what he expected from his mother. The poverty stricken swell, Sir Lionel Norman, believing that Lucy Vavasour would inherit the dead man's wealth, paid assiduous attention to her, but he discovered the condition of the will, that she should marry Frank Hawthorne, and if each refused the other, the wealth would be devoted to building homes for the orphan children of miners. There was also a condition that if one said 'yes,' and the other said 'no,' the money was to go to the one saying 'yes.' Believing that Frank must accept Lucy Vavasour, Sir Lionel Norman devotes his attention to Miss Jenny Wildbriar, who however, has a beau in the person of Everard Digby, a barrister, to whom she had been introduced under the title of the Marquis of Banterdown, a little device she had seen through. One of the crowd of penniless swells 'makes up' to Mrs. Wildbriar, and a penniless lady with a long pedigree fastens on to Robin Wildbriar. When the six months expire, and the executors of the will assemble the interested parties, after some cogitation, Lucy accepts the condition, while Frank Hawthorne rejects it. A very fine scene follows. Lucy explains that she guessed that Frank meant to refuse, and had she refused the money would be lost. Frank, being a bit of a poet, had composed some verses which, by chance, had fallen into Lucy's hands, and she declares that she will wear the willow all her life if he a second time refused her. In the cast were Richard Younge, Fred. Younge, T. S. Bellair, G. H. Rogers, Russell, Wilson (the scenic artist, who played Robin Wildbriar), Rose Dunn, Fanny Young (sister of Charles), the sisters Allen, a Miss St. Clair, and last, but not by any meant least, Mrs. Bellair, The opening night was that of the day on which Flying Buck won the first Champion Race at Flemington, January 1, 1859. It is fixed in my memory by reason of a doggerel epilogue spoken by Fred. Younge, wherein, he spoke of—
" . . . . . the ruck.
Viewing the heels of Flying Buck."
Soon after, Mr. Coppin produced "World and Stage," in which he appeared himself. Then the usual season followed, with always good results to George Coppin.
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It would be somewhat difficult for one not within the ring to get at the actual facts of Brooke's quarrel with Edwards and Fawcett. Ambrose Kyte was up to his neck in it. E. and F. had been borrowing money from, the then supposed millionaire, and Ambrose lent them so much money that they gave him the lease of the theatre as his security. All the soiled linen was publicly washed. The 'Age' newspaper, which accepted the correspondence, fairly revelled in the disclosures. To add to the trouble, the lady we knew as Mrs. Brooke became Mrs. Edwards, and Brooke, much to the scandal of the public, had his name linked with a leading actress whom he afterwards married at Liverpool. Friends interested themselves in Brooke's affairs, mediated with Mr. Coppin, and the pair became friends. Some people said that they were never separated, that it was only one of 'Coppin's dodges ;' but I don't think there was any 'dodge.' George Coppin was too careful a man to create a 'dodge' which should lose him money. The reconciliation was made, however. Mr. Coppin undertook the management of Mr. Brooke's theatre and affairs, and promised to make them straight.
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The opening piece under the resumed management of Mr. Coppin was Tobin's comedy of "The Honeymoon," followed by "The Serious Family," a big bill which crowded the house in every part, though the night was stormy and the rain pouring down in torrents. No rain could extinguish the interest felt in the reappearance in the same pieces of the old favorites, Coppin and Brooke, I made a unit in that great audience, and I shall never forget the reception Brooke met with on his entry as Duke Aranga. The demonstration was only equalled when George Coppin appeared as the Mock Duke. Avonia Jones played the parts of Juliana in "The Honeymoon," and Mrs. Ormsby Dalmaine in "The Serious Family." There appeared also, that night, after a long absence, Mrs. Vickery, a sterling actress in such parts as Mrs. Candour and Lady Sowerby Creamly, likewise was she great in the "Roman Mother," and no matter who else was in the company, Mrs Vickery was the Lady Macbeth. The feeling of the audience throughout the evening was displayed more than once when Brooke and Coppin were alone upon the stage.
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After "The Honeymoon," Brooke appeared in front of the curtain, and addressing the audience, said that he most heartily thanked them for the recognition manifested by them of the old as sociations of the house, and of his services in their behalf. The old friend who had performed with him that night was, he believed, the only friend he had in the colony; but while congratulating Mr. Coppin and himself on what had taken place, he would allow that gentleman to speak for himself. Brooke broke down more than once during the speech, and was picked up again by the vigorous applause of the audience. Mr. Coppin then came forward, and it was some moments before he could proceed. As soon as the applause subsided he said that it was most deeply gratifying to his feelings to find himself welcomed back as he had been to the boards of that theatre. It really looked like a vote of confidence, a sentiment which was cheered to the echo. When Mr. Brooke took the theatre he had promised to do all in his power to maintain the legitimate drama, and Mr. Brooke had done so. He (Mr. Coppin) Had now, at Mr. Brooke's request, assumed the management of the theatre for six months, during which he hoped, by assiduity and industry, and with the kind assistance of the public, to retrieve his broken fortune (Brooke had made £40,000 in his six years' Australian residence; a tidy sum to make up in six months, George) and to give him a substantial recognition of his talents on his departure for Europe. He could only say that nothing should be wanting on his part to bring about so desirable a result. Before retiring, Mr. Coppin begged to congratulate the public on having a second gas company (strange to say Ambrose Kyte was the promoter of the second gas company, which had the effect of bringing down the price of gas to a reasonable figure). The public would scarcely believe that after the thousands of pounds which the Gas Company had received from the theatre, the company had that night threatened to cut off the supply, unless the amount due — a paltry £43 — were paid instanter. Mr. Coppin humorously said that as he did not usually carry that amount about with him, the gas collector had kindly accepted his personal cheque, and if that had not been forthcoming the theatre would have been in utter darkness. Mr. Coppin then announced that on Saturday night a complimentary benefit would be given to that very promising young actress, Miss Rosa Dunn. On Boxing Night a panto mime would be produced which he hoped would give them every satisfaction: and, finally, he might state that an engagement had been made with Sir William and Lady Don, who would appear in due course. He hoped that, with such elements of novelty and talent, a succession of entertainments would be provided which might justly claim the support of the public, and lead to the successful results he had ventured to anticipate.
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In the course of his speech that night Mr. Coppin further said that the reception he had met with that night seemed a vote of confidence on his former management of the Theatre Royal. He had a character for 'dodging,' but he could honestly say and unhesitatingly declare that he had never abused that confidence in his promises as a manager. He had kept faith with the public. He regretted deeply that the satisfaction he felt on these grounds should be counterbalanced by the unfortunate circumstances in which he found the theatre placed at that moment. When he brought Mr. Brooke out from England he volunteered to him a promise that he would not leave him until he had secured for him an independency for the rest of his life, and he had kept his word. Last year (said Mr. Coppin) Mr. Brooke had made choice as his share of their joint business of the Theatre Royal, which was then in a thriving condition, and bringing a rental of £400 a year, or, instead, made him an offer of £20,000, clear of the liability to the amount of £8000 which then existed upon it. Now, by misrepresentation and deceit, to use no harsher terms, for none but such could be used, he thought, if the theatre were being disposed of for a sum so radically below its real value, for, terms which a usurer would blush to look upon, the theatre was passing out of Mr. Brooke's hands, not only so, but he found that Mr Brooke's testimonial, with which he had been presented by the public, his plate, and a portion of his wardrobe were deposited in the pawnshop, and a most usurious rate of interest charged for them, which, not having been paid, the property was forfeited. Mr. Brooke was moreover, indebted to the amount of £4000. Some people, said Mr. Coppin, might ask what was all this to them; but of one thing he felt convinced, and that was that the very large portion of the public would feel deep sympathy for the position in which Mr. Brooke was placed.
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In this connection the following, copied into the Sydney 'Empire' of 50 years ago, will be read with interest :— 'An Extensive Theatrical Engagement : Mr. G. V. Brooke and Mr. Coppin.— The American Manager . — Mr. G. V. Brooke has made an engagement with Mr. Coppin, through Mr. J. H. Wilton, to proceed to the colonies and act 200 nights, Mr. Coppin securing to him £10,000, in addition to the expenses of himself and four. Miss Fanny Cathcart accompanies the tragedian. The 200 nights are to be performed in nine months. A contract has also been entered into with Messrs. Fox and Henderson for the construction of an iron theatre, 120ft by 45ft, which will go with Mr. Brooke, costing complete about £5000. Mr. Brooke will sail in the new steamer Pacific.'
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Mr. J. B. Steele, who was engaged to support Mr. Brooke on his second visit to Australia, died on Friday, in the Cancer Hospital at Liverpool (N.S.W.). He was buried with Masonic honors on Saturday. Mr. Steele was 72 years of age. In next issue will appear a sketch of the career of the deceased gentlemen.