Queen's Theatre

Theatre in Queen and Little Bourke Streets, Melbourne, opened 21 April 1845, seating about 1000. Became carriage factory in 1860s.

Melbourne's second theatre, the Queen's Theatre Royal opened with a benefit performance in which the manager, Francis Nesbitt, was principal actor. The official first season, also starring Nesbitt, began on 1 May. John Thomas Smith, a town councillor who went on to be seven times mayor of Melbourne, built the theatre, which the Port Phillip Patriot said was 'a plain, substantial, brick, shingle roof building with no attempt at architectural ornamentation'. George Coppin brought his company from Van Diemen's Land into the new theatre in June 1845 and played there for a year off and on. The Queen's Theatre saw the first performance in Australia by G. V. Brooke - as Othello - on 26 February 1855, but its days were numbered with the advent of Coppin's Olympic Theatre and the Theatre Royal. 

In the course of these articles I have made occasional reference to— amongst Thespians— "the noblest Roman of them all."
GUSTAVUS VAUGHAN BROOKE.

Quite recently there was a newspaper controversy as to the correct name of the great tragedian, some of the controversialists contending that his name was Gustavas Vasa. I have undoubted testimony (the autograph of the actor in full), which gives the second name as Vaughan, and rightly so, as this was his grandmother's maiden name. Brooke was born in Hardwicke-place, Dublin, the 'place' being a crescent of fine houses right opposite St. George's Church, and in the immediate neighbourhood of the scene of the shooting of Head Constable Talbot by Thomas Kelly in the year 1867. Talbot was a spy in the ranks of the Fenians, who went as far as to attend Roman Catholic services and engage in the most solemn ceremonies to enlist the confidence of members of the Fenian Brotherhood, and then betray them. To Kelly was allotted the 'duty' of wiping out Talbot. One night he posted himself in an archway, past which he knew Talbot would go. After waiting patiently the doomed man sauntered along. Kelly fired, the bullet, hitting Talbot behind the ear. One of the most famous of Dublin surgeons performed an operation to extract the bullet. Talbot died. Kelly was tried for the murder, and was defended by the great Isaac Butt, whose defence was that the surgical operation, badly performed, caused death. Butt raised such a cloud of doubt over Talbot's identity of Kelly, and Dr Stokes' manipulation of the bullet, that the jury acquitted the accused, much to the astonishment of the two judges who tried the case. Kelly, however was convicted of shooting at and wounding a police constable on the pathway right in front of the house in Hardwicke-place where Brooke was born, and sentenced to 14 years' penal servitude. On serving about half the time he was discharged on the ground of ill-health, at 24 hours' notice, and immediately left for the United States, the Government of which allowed him to enter, as his offence in Ireland was political. He did not long enjoy his freedom, as the rigor of penal servitude had completely undermined his health.
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Hardwicke-place, Dublin, was a fashionable neighborhood at the time of Brooke's birth, and is still a good locality, though somewhat decayed. Brooke's father subsequently lived in Hardwicke-street, at No. 4, right opposite the residence of his wife's grandmother, Mrs. Vaughan, who lived at No. 44. Young Brooke was educated at a school conducted by a brother of Maria Edgeworth. He was intended for the legal profession, his father, knowing his natural gifts, being anxious that he should be called to the Bar and "walk the hall of the Four Courts." Brooke, however, at the immature age of 14 years, had been to Hawkins-street Theatre, otherwise known as the Royal, and had seen Macready, in high tragedy, and immediately became stage-struck ! In a day or two he waited upon Mr Calcraft, the lessee of the theatre, which at that time was a 'patent theatre' (that is, it was licensed to perform plays; and had the monopoly of such in Dublin ; other theatres there were, Fishamble-street for one, which evaded the patent law by interspersing the dialogue of the plays with songs and music), and asked for an engagement. Mr Calcraft did not discourage the juvenile, but said that he had no opening for him just then.
About this time another erratic genius, Edmund Keen (born 1787, died 1833), was advertised to appear in Dublin. His real name was Edmund Carey. His parentage was questioned, even by himself, and he frequently, to many persons who were not particularly in his confidence, affirmed his belief to be that Mrs. Carey was not his mother, but that he owed his existence to a lady who through, life passed as his aunt. That lady was for many years "under the protection" of the Duke of Norfolk, and was introduced by the Duke to David Garrick, who gave her an introduction to the managers of Drury Lane Theatre, where she appeared soon after the death of Garrick.
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In view of the controversy as to the receipts at certain Australian theatres by certain stars in the long ago, some figures of Edmund Kean's may be of interest : In the course of the season of 1814 Kean played 68 nights. - The total amount of money received at Drury Lane Theatre on these nights was £32,642 12s 6d. When Kean came to the theatre the nightly receipts averaged £212. During his nights the general average was £509 9s. The largest receipt on the performance of Shylock was £531 2s, of Richard III. £655 13s, of Hamlet £660, of Iago £578, of Othello £673. The number of persons who visited, the theatre during these 68 nights was 166,742. The result of the calculation is that the theatre cleared by his services alone £20,000.
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Of Edmund Kean, Lord Byron wrote : 'Just returned from seeing Kean in Richard. By Jove, he is a soul ! Life, nature, truth, without exaggeration or diminution. Kemble's Hamlet is perfect; but Hamlet is not nature.' Richard is a man, and Kean is Richard." Edmund Kean was announced to appear at the Theatre Royal, Hawkins-street, Dublin, on Easter Monday, 1833. That festival fell on April 9. But a few days before that date Mr. Calcraft received information that Kean was seriously ill, and would not be able to fulfil his engagement. As a matter of history, Kean died on May 15.
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In his dilemma Mr. Calcraft bethought himself of his youthful applicant, and sent a special messenger to No. 4 Hardwick-street and summoned to his presence the thespian aspirant. His first application for employment was so earnest that Calcraft asked him to recite, and was much struck by the ability and fervor which he displayed, but he naturally declined to receive so mere a tyro into his company. The defection of Kean, however, altered his determination, and Calcraft on his second interview with the lad Brooke engaged him to fill the place of the great star. Easter Monday, April 9, 1833, was the date fixed for his "first appearance on any stage." The piece chosen being "William Tell." Amongst the stock company at the Hawkins-street Theatre, there was Mr. J. C. Lambert who afterwards supported Brooke in Melbourne. At a benefit performance and presentation to Brooke, on the stage of the old Melbourne Royal, J. C. Lambert, who officiated as spokesman, told the story of Brooke's first appearance. He described the handsome lad, who, with an entirely new, fresh and piquent rendering of Tell, took the Dublin audience by storm, and the Dublin audience, be it remembered, is about the most critical any actor can pass before. Permanent employment at Hawkins-street followed. The Emma of the drama was Miss Huddart, afterwards Mrs. Warner. Brooke's success was so great that, at the age of 18 years, he was recognised as a star, and played starring engagements. In one of these engagements, at Sheffield, in 1838, Mr. George Coppin, then a slim young gentleman of 18 summers, played Osric to Brooke's Hamlet.
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There is a somewhat hazy idea that Mr. Brooke played Virginius at the Victoria Theatre, London, in the late thirties. In 1841, William Charles Macready engaged Brooke to share "second business" with James Anderson, at Drury Lane, but on entering the green room Brooke found himself cast for the minor part of Salarino in the "Merchant of Venice." Tearing down the 'cast' notice, Brooke left the theatre vowing that he would never appear there during Macready's management. Years after—in 1848— Macready visited Brooke in his dressing room at the Olympic (London), and candidly told him that he was now "the only English actor capable of upholding the grand tragic line, and that with proper care he need fear no competitor." At Manchester, in 1845, Brooke played Iago to Forrest's Othello, and was forewarned by his comrades that Forrest's voice would drown his own. The American put forward all his lung power in the third act, but the Iago of the night was equal to the occasion, and honors were divided. It was not until January 3, 1848, that Brooke made his real debut in London. It was at the Olympic, and the piece chosen for the ordeal was "Othello." The late Mr. William Barton of the John Bull Tavern, Little Collins-street, Melbourne, to whom I am indebted for much information concerning the London stage and the London prize ring, told me that he and a number of his friends were present on the occasion. They were there by invitation as old playgoers and first-nighters, and good judges of acting. Mr. Barton tells me that Brooke's Othello was a success, but not equal to Kean's. I may say that Mr. Barton's opinion of Kean was that he overshadowed every other actor of his time. In the same way he considered Jem Ward the don of the prize ring. Later on, in 1849, Brooke was managing the Theatre Royal, Rochdale, when J. B. Howe, the veteran English actor, made his first appearance as a professional. Like most actors, Mr. Howe first trod the boards as an amateur. He was an ironmonger's assistant when, in 1847, he paid £4 10s for the privilege of playing the leading part in "The Rover's Bride,"or "The Murder in the Bittern Swamp," produced at the Old Bower Saloon. The first lady with whom Mr. Howe ever walked on the stage was the mother of the present Mrs. Labouchere. Howe's right initials are 'T.B.,' for he was christened Thomas Burdett, after Sir Francis Burdett. He came to be known as J. B. Howe by an accident, being so billed by Mr. Biddles, the father of Mrs. Charles Calvert. This Mr. J. B. Howe must not be confounded with Mr. John Howe, who, in 1871, appeared at the old Victoria Theatre, Pitt-street, under the management of Mr. John Bennett.
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In December, 1851, Brooke appeared at the Broadway Theatre, New York, as Othello. His success in the United States led him to undertake the lesseeship of the Astor Place Opera House, in New York, which he opened in May, 1852. The venture was a most disastrous failure, and after another tour in the United States he returned to London and secured an engagement at 'Old Drury,' then under the management of Mr. E. T. Smith, father of Dr. L. L. Smith, the well-known sporting medico of Melbourne. Mr. E. Smith was at one time also lessee of Cremorne Gardens and Her Majesty's Theatre, London. The little doctor escaped the stage through the care of his mother, who sent him to Paris for his education, she not wishing her son to "fret his little hour upon the stage."
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Before leaving the United States, Brooke took a farewell benefit at the National Theatre, May 27, 1853, on which occasion he was presented with a magnificent service of solid silverplate. There was a splendid salver, a hot water kettle, and five other pieces. On the salver was inscribed : —
Presented to
G. V. BROOKE, ESQ.,
by a few of his many friends
in Boston, U.S.
May, 1853.
Brooke also had presented to him a silver centre-piece, by Australian friends. I wonder where all those valuable presents are now? In the melting pot, probably, long ago. The still active George Coppin visited England in 1854, with the object of engaging stars to earn some of the gold which was then in profuse quantities in Australia, waiting for someone to earn it. Brooke and Coppin were not strangers, as will be seen above, Coppin having met Brooke, and played with him in the English provinces. Coppin met his old chum, I think, at Birmingham, and immediately secured him "for the goldfields." Having netted his big fish, Mr. Coppin looked about him for someone to consistently support the star. Richard Younge, a very conscientious and all round good actor, was chosen as the chief male support, while a pretty, smiling, good-tempered young lady, belonging to an old theatrical family Fanny Cathcart — was selected as the leading lady. In the days of her youth Miss Cathcart was a charming actress, though she did not support Brooke in all his characters. For instance, she was not the Lady Macbeth, that part being filled by Mrs. Vickery. Fanny Cathcart was a daughter of James F. Cathcart, a well-known actor of his day, and sister of J. F. Cathcart, who came first to Australia in 1863, in the Kean season, he being leading man in the series of Kean performances in the colonies. He was for nine years with the Keans before coming to Australia, and had the honor of appearing 19 times before Queen Victoria. Cathcart was practically cradled in a theatre, as was his sister Fanny. After a season of nine months in Australia, in 1863 Coppin, the Keans, Cathcart and others left Sydney for San Francisco, having previously given three Shakespearian performances in the Old Masonic Hall, York-street. After a tour in the United States, J. F. Cathcart joined Barry Sullivan, and played, with him for seven years. In 1879 he returned to Australia and remained until his death in December, 1902, at the age of 75 years. Fanny Cathcart, soon after her arrival in Melbourne, married Robert Heir, out of which some legal complications arose, Mrs. Heir having broken the letter of her engagement with George Coppin. The latter, by the way, was a widower, at the time, and rumor had it that he wished to make Fanny Cathcart his wife, but thst she 'would have none of it.' The little dispute was, however, got over, and Mrs. Heir rejoined the Coppin combination. Miss Cathcart, Brooke, Young, and others came to Melbourne by the Argo ; Robert Heir, Fred Younge, and others whom Mr. Coppin had engaged in England, coming out later on. The Australian manager was not content with engaging an expensive company to support G. V. Brooke, but he brought an Iron theatre, made in sections in Birmingham, in which to house them. The imported playhouse was not ready, however, for the first appearance of Brooke and his confreres in Australia, so on arrival the great tragedian opened at
THE QUEEN'S THEATRE,
Queen-street, Melbourne, the property of John Thomas Smith, seven times Mayor of Melbourne, who owned and occupied the St. John's Tavern adjoining. The Queen's had been the home of drama in Port Phillip for over ten- years, and when its day was over it became a coach factory, the proprietor of which was Mr. Wm. Williams, an aristocratic coach builder, who was Mayor of Melbourne in 1866-7. The old Queen's on Brooke's advent was the only theatre in existence in Melbourne where Shakespearian pieces or the legitimate drama could he properly presented. It was Hobson's choice, therefore, at Hobson's Bay, and Brooke presented his Othello to an Australian audience on the limited stage of the stuffy little Queen's.

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.

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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.

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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.)

The rejoicings over the success of the New South Wales horses in the intercolonial matches in October, 1857 at Flemington took a form agreeable to at least two of the parties concerned. Old Sydneyites who had taken up their abode in Victoria were determined that the horseman who had upheld the honor of the mother colony on a 'foreign field,' as it were, should not go unrewarded. Accordingly, some active spirits set about getting up a testimonial to Mr. John Higgerson, who had successfully steered Veno to Victory on the memorable October 3. Subscriptions were had for the asking, the result being that a very handsome gold-mounted whip was purchased for presentation to the successful jockey. The presentation was made on the stage of the Theatre Royal, at a performance given under the patronage of the Victoria Jockey Club 'and the Sydney sporting visitors.' The piece staged was an old-time melodrama, 'Fraud and its Victims,' a play we never hear of nowadays. The chief performer on the male side was an actor then new to Melbourne, Mr. W. H. Stephens, who earned for himself the nickname of 'Jockey' Stephens, through his capital performance of a jockey in some racing drama. In thosegood old racing days a 'laughable farce,' as the playbills had it, wound up the evening's performance. Between the play and the farce, Mr. Hamilton, of 'Bell's Life,' appeared on the stage, accompanied by Mr. Johnny Higgerson. Mr. Hamilton, in a neat and appropriate speech, made the presentation. The whip mountings were exquisite, and the gold band bore the inscription : —

'Presented to Mr. Johnny Higgerson,

Trainer and Rider

of G T. Rowe, Esquire's c g

Veno,

as a Memento of the Challenge Match.

October 3rd, 1857.'

Though it was Mr. Higgerson's first appearance on the boards of a theatre, his 'stage' being usually a four-wheeler, Mr. Higgerson was not amiss in his speech of thanks. The newspapers of the day did not report the speech, but I know that Mr. Higgerson said that Wellington did not feel prouder at Waterloo than he (Johnny Higgerson) did on Veno in the champion match. The owner of Veno, Mr. G. T. Rowe, who was in the dress circle, had to bow his acknowledgments of the applause which greeted him when recognised. The Sydney sportsmen and the Sydney press admitted that the Victorians took their defeat in a manly fashion, asserting that they would have better luck next time. The gold-mounted whip, the subscribers explained, was not presented as an acknowledgment of Veno's victory, but as a mark of esteem to Mr. Higgerson as a man of whom they were all proud, who did his best in the interests of his employer. Mr. W. H. Stephens, the 'other star' of the night, after a couple of years tearing the colonies, went to London, and became a most successful actor and manager, and was, I think, the first of a long list who having made a name in Australia, made fame and fortune in England.

As Tomboy, ridden by Sam Holmes, had conquered Veno, ridden by Higgerson, in one race at the meeting held immediately after the intercolonial matches, it was thought only right and proper that 'old Sam,' as he was known in after years when he kept the Horse and Jockey Inn, at Enfield on the Liverpool-road, N.S.W., should also have a presentation. This took the shape of a gold watch and chain and a purse of sovereigns. Anthony Greene was the spokesman, and Sam Holmes made a very neat speech. Tomboy was also to have 'shown' on the stage, but Mr. Greene had to apologise for the equine hero, stage fright, or something akin to it, having prevented Tomboy making his bow to the crowded audience at the Princess', for it was at that theatre that Mr. Holmes had his presentation. 'Fraud and its Victims' at the Royal had given way to 'Sardanapulus,' with Mr. G. V, Brooke in the leading part. It was announced as one of a series of performances prior to G. V. B.'s return to England. These announcements were frequently made, and an announcement of a final appearance by Mr G. V. Brooke, became a by-word as one of 'Coppins dodges.' On the night when the presentation was made to Mr Sam Holmes, the sisters Gougenheim—Joey and Adelaide— were playing in 'Court and Stage' supported by George Fawcett, who subsequently went to London and achieved success as an actor and playwright, under the name of George Fawcett Rowe, the latter being his real name.

If not actually on the night of the presentation to Mr. Holmes, it was on the night previous, that Joey, who was the more energetic of the sisters, made a bitter complaint that they, as 'stars,' had great difficulty in getting an opening in Melbourne, unless they accepted undignified terms. As Mr. George Coppin was absent from Melbourne, Mr. G. V. Brooke wrote the newspapers explaining the position. The agent of the sisters had written Mr. Coppin from Hobart Town offering their services at the Royal on certain terms, which we may suppose, from the tone of Mr. Coppin's reply, to have been, perhaps, exorbitant. Brooke gave a copy of Coppin's letter. There it was stated that the expenses were £600 a week! but that he would give the sisters £100 a week and two half-benefits, the engagement to be for a fortnight or a month. These terms, the sisters indignantly rejected, and gave themselves to the old wooden structure known as The Princess', in Spring-street. This old wooden 'Matchbox,' as it was named, had pit, stalls, and bores, and might hold £100 a night on a pinch. What terms they made with George Fawcett we know not, possibly share and share, after deducting a sum for expenses. Strange to say, the 'Old' Queen's' in Melbourne, the Princess' just mentioned, and an old theatre still standing in Durham-street, Bathurst, a relic of the roaring days of the Turon Diggings, and in which G. V. Brooke played, are the only ones, I am creditably informed, which have escaped destruction by fire.

Mr. Holmes, in acknowledging the gift of a watch and chain and a purse of sovereigns, was not to be outdone by Mr. Higgerson in similes; Mr. Holmes said that he was prouder of his position that night than Nelson at Trafalgar! Some little unpleasantness was hinted at over the race won by Tomboy. It was a sweep of 25 sovereigns with 100 sovs added. There were several starters, the principals being Van Tromp, Veno, and Mr. Purcell's Tomboy. Higgerson was on Veno, Waldock on Van Tromp, and Holmes on Tomboy, three as upright jockeys as ever threw leg over saddle. It was said that Holmes rode light, having got rid of some of his weight; and what pained the Victorians more than anything else was the fact that Messrs. Rowe and Atkinson believed it; and Sam Holmes was a Sydney man, too. Those who knew Sam Holmes will, I know, say that such a charge was simply ridiculous. The jockey weighed out and weighed in the same weight, and there was no opportunity, even if he wished it, to play hanky-panky with the weights between times. It may be mentioned that in this race Van Tromp was nowhere but in the race run half an hour afterwards he got second place.

Within the week in which the great Intercolonial Matches were run, the Victoria Jockey Club held, I think, its first meeting. This was the club of which Mr. J. M. Tarlton (U. S. Consul), Henry Phillips, George ???????, Edward Row were stewards, with Mr. W. P. Symons as secretary, and Mr. Richard Goldsbrough as honorary clerk of the course.

Just think of 'John Bull' Goldsbrough, 20 stone if an ounce, in starlet, and breeches, as clerk of the course! It was late in the season, and the horses were not in the best of condition, and the meeting was remarkable for the defeat of all the favorites.

The Intercolonial Matches seem to have given a zest to racing in Melbourne, the V.J.C. meeting on October 7, 8 and 9 being very largely patronised. Tattersall's newly founded rooms attracted a crowd, the regulations framed and the admission fee proving a barrier to a large number of noisy 'bummers,' who did no business and whose chatter, clatter and bounce had been intolerable. This 'push' had to content itself with the kerbstone when Tatt's was established. In the rooms the Sydney people were well represented, foremost amongst them being Mr. G. F. Pickering, editor and part proprietor of 'Bell's Life in Sydney.' It was noticeable that the Sydney contingent wagered only on Sydneyside horses.

The first race of the meeting was a Maiden Plate. Nine came to the post, amongst them a horse called Yankee, entered as a five-year-old, made first favorite, and backed heavily all through. This horse Yankee had done all his galloping as one of a team in Cobb and Co.'s coaches! The coaching crowd believed that they had found a wonder, but the result proved that Yankee was great at a mile, but no further. Though Joe Smith, a well-known rider of the time had the mount, he found his horse beaten at the mile. A horse with the Hibernian name Bathershins proved the winner, while Lady of the Lake, a sister of Alice Hawthorne, ran into third place.

Under the auspices of this club the Victorian Derby of 1857 was run. The entries were Mr. William Greene's Tricolor, Dr. Bathe's Vain Hope, Mr. Dawes' Union Jack, Mr. H. Phillips' Cavalier, Mr. E. Row's Melbourne, Mr. Payne's Skylark, and Mr. Davis' Marco. The added money was £150, the race being won by Tricolor, bred at Woodlands, the old home of Pomeroy Greene and his sons Rawdon and Molesworth. The winner had only been in Anthony Greene's hands for six weeks prior to the race. The Jockey Club Cup, £150 added money, brought a number of well known horses to the post, and was the cause of a special match being made between two of the runners. There were five entries: Mr. Warby's Cardinal Wiseman, Mr. A. Chirnside's Alice Hawthorne, Mr. John Sevoir's Sir Robert, Mr. B. D. Clarke's Camel, and Mr. Payne's Sinbad; welter weights, members of the Jockey Club up. Alice Hawthorne was the favorite against the field. The race was a two-miler, the winner turning up in Cardinal Wiseman, ridden by Mr. Rutland; Alice, with Mr. John Orr up, being second. That night at Tattersall's it was stated that Cardinal Wiseman's victory was only a fluke, and a match between 'The Churchman' and Alice was spoken of. On the following evening the match was made, the owners of Alice laying £1000 to £500, 2½ miles, welter weights, 12st 41b the horse, 12st 1lb the mare, to be run on the afternoon of the next day. Next afternoon the betting was 6 to 4 on Alice Hawthorne, which became firmer when it was known that Johnny Higgerson had the mount on the mare, and the 'gentleman jock,' Mr. Rutland, was to steer 'The Cardinal.' The start was a dead level one. Almost immediately the mare forged ahead, the Cardinal made an effort and passed the mare, the latter, however, got in front again, but Higgerson hauled off at the boggy ground under the hill, where the grandstand is now. Turning into the straight the pair were stride for stride, fighting for every foot; the mare was beaten by three lengths, in 3min 22sec. The horse Cardinal Wiseman surprised everyone. Mr. Warby had purchased him a few weeks before for 200 guineas, for stud purposes, but proving what horse masters call 'too playful,' he was given to one Bentley to train and make what he could out of him. It was now decided that Alice Hawthorne had seen 'her day.' In the first ten days of October, 1857, she had been tried four times, having as riders Steve Mahon, Mitchell, Johnny Higgerson and Mr. John Orr, and she failed to score a win with either up. All four riders gave the verdict 'out of form.'

The Victoria Jockey Club had a 'Great Metropolitan' as part of the programme. It was run on the second day, the added money being a modest 200 sovs. with a sweep of 15 sovs. The starters were: Veno (Higgerson up), Mr. Jenkins' Voltaire, Alice Hawthorne (with Mitchell up), Van Tromp, and five others, Veno and Alice went stride for stride from the start, when Veno went to the front, leaving Alice to fight for second place with Voltaire, who beat the mare by a head. The third day was wet, the entries being second and third rate, and the interest deadened by the absence of the 'big game.' At Tattersall's, at the settling up, everything passed off in first-class fashion. There were no complaints, because there were no defaulters. The bookmakers proper had not as yet become an institution, the betting being done between friends and by well-known sportsmen. Cash betting had not been thought of. Joe Thompson was but 20 years of age, and still in obscurity. The late Sammy Isaacs had not started 'pencilling' at Kirk's Bazaar. I think little Sammy, who 'pattered' for the fighting men at their booth at Flemington on race meetings, was the first recognised layer of the odds per book and pencil.

At the 'settling,' when the champagne had gone round, and everyone was satisfied with himself, his neighbor, and owner of Van Tromp, issued a challenge the world generally, Mr. William Frazer, to Victorian sportsmen, two challenges, in fact. The first was that he (Mr. Frazer) would find a horse in the Geelong district, which he would match against any other Victorian horse for 250 sovereigns, in six weeks' time, two miles, over the Geelong course. The second challenge was somewhat similar, the distance being 1½ mile, Mr. Frazer explained that both horses were strangers to the Flemington and Geelong racecourses. Nothing came of the challenges at the time. But while challenges were flying about Melbourne, new ground had been broken in Sydney. In 'Bell's Life in Sydney' appeared an advertisement worded after this fashion :— A gentleman from Ipswich, Moreton Bay (there was no Queensland then), will back his horse, Newbolt, against the champion of Australia or any horse in the colony (New South Wales, which included everything north of Gabo lighthouse), for nothing less than 500 to 1000 sovereigns, £250 allowed either party removing his horse to either turf. Stakes ready at the Willow Tree Inn, Pitt-street. No deposit but cash down. Match to be made in four weeks, the race run in three months from this date. October 17, 1857. An answer expected by Saturday, as the gentleman is about to leave the colony. No race within 22 days of the horse landing at either post. I don't think the Sydney sportsmen paid much heed to the gentleman from Ipswich, who had such a high opinion of his horse Newbolt.

A coincidence, surely! While I was writing about the Edouin family ('Sportsman,' 27/4/'04) and Cremorne one of the family, Mrs. G. B. W. Lewis nee Rose Edouin, was on her way to pay a professional visit to Sydney, and the lady is now in our midst.

The Mr. Warby mentioned above belonged to an old— very old— Campbelltown (New South Wales) family, which had a big interest in certain valuable Sydney properties. The old Yorkshire Stingo Hotel, at the corner of Castlereagh and Goulburn streets, was an heirloom of the family. Likewise the old Liverpool Arms, at the corner of King and Pitt streets, a house dating back to the old 'lag days' of the colony, but which, when rebuilt, had its name changed to 'Warby's.' I believe it has now passed out of the Warby family.