Freemason's Tavern

Theatre on comer of Harrington and Davey Streets, Hobart, opened 24 December 1833. Used until 1835

Samson Cameron fitted up a large room in the Freemason's Tavern, where the Freemason's Hotel now stands, to stage the first professional theatrical production in Tasmania. The theatre had a gallery, pit seats on a rake, a proscenium, and a dais 450-600 mm high for a small stage which, it was said, ‘admits two or three good scenes'. The Colonial Times said 'a more respectable assembly was never collected in Hobart Town' for the opening. The theatre held an audience of 150 but the first-comers spread themselves on the benches because of the heat of the night and some ticket holders were among the hundreds who failed to gain admission to see The Stranger by August von Kotzebue. Cameron's season ran until May 1834, with twice-weekly productions, and he returned to the theatre for another season in December 1835.  

To be chronologically correct, it must be mentioned that the opening of the Victoria Theatre was the death warrant of the Theatre Royal. Barnet Levey died before the 'Vic'' was completed, and his widow kept the Royal open for a while, but the theatre suddenly closed on March 22, four days before Joe Wyatt opened his new venture. The Royal remained closed until the big fire removed it in March 1840. The fire originated in a stable on the adjoining premises, belonging to a Mr. Blanch, a mathematical instrument maker. The officers of a regiment then in Sydney, who had been attending a ball, hurried to the fire and assisted to remove goods, etc. In the early forties an Italian opened a canvas show in Hunter-street, and subsequently erecting a stage and scenery, named the concern the Olympic, and commenced in opposition to Wyatt. He got together a good company, but after a time the canvas theatre collapsed.

About the time that Levey opened the Royal in George-street, a theatre was opened in Launceston, and, we read that Mr. Cameron took a company from that town to Hobart Town and opened in "The Stranger." The first theatre named in the northern capital of Tasmania was the Royal Olympic, which formed part of the London Tavern, as did the Royal in George-street, Sydney. Amateur theatricals were popular in those days, chiefly amongst the military, and amongst these military amateurs was our own George Herbert Rogers. There exists a playbill in Launceston of a performance of "Charles II, or the Merry Monarch," given by the men of the 96th Regiment. In 1845 Mr. George Coppin leased the Olympic, and kept it open for a number of years. In 1850 the Lyceum Theatre, in Cameron-street, was opened under the management of Mr. James Melville. The Cornwall Rooms and the Royal Clarence theatre were opened in the same year. At the Rooms Miss Catherine Hayes appeared, the charges being 21s, 10s 6d, and 5s. The Theatre Royal was opened in 1857 it stood where the Empire now stands, and on its stage many Thespians of note appeared. ln 1863 the Lyster Opera Troupe appeared at the Royal. The Royal was closed in 1878.

In Southern Tasmania, Hobart now has one theatre, and that an old one. The De Graves family had something to do with its erection. One of its early managers was Robert Osborne. Later on J. W. Watson and John Davies held the reins. In the early days, at the Freemasons Hotel, in Harrington-street, was a theatre owned or leased by Mr. and Mrs. Clarke. There the soldiers from the barracks congregated, and the townspeople also patronised the show. Tommy Atkins was not then excluded from the theatre. Later on the Tasmanian Hall across the street was devoted to the drama. Mr. Delsarte had some connection with this establishment. Then there was the Hobart Hall in the same street. Next there was the Royal Albert Theatre, chiefly supported by seafaring men. This latter has been transformed into an hotel and is known as the Carlton. Circuses flourished, too, in those early days. Of the old actors in those old Tasmanian theatres one still lives in Sydney, at about 90 years of age— Mr. James Hasker.

Amongst the members of the theatrical profession mentioned in these bygone annals, none occupied a larger space in public affection than GEORGE HERBERT ROGERS, with whose death the Australian stage lost one of its best and brightest ornaments. But very few of his stamp have appeared upon the colonial stage. In London he would have ranked with the elder Farren, who is said yet to have left no successor, and he died in 1861. Mr Rogers was the son of a physician, whose widow married Major Elsey, of the Bank of England. His family was connected with that of Joseph Rogers, whose name appears frequently in volumes of Poetry chiefly of a religious character, and also with the Poet Herbert Rogers, from whom he took his second name. As brothers he had Professor Henry Rogers and John Rogers, and as half-brother Dr. Elsey, of the Port Essington expedition. An unfortunate family squabble drove Rogers when a young man from home, and in a wild moment he entered as a private soldier in the 51st Regiment at Chatham. Before his friends could take steps to purchase his discharge, or effect a reconciliation the, 51st was ordered to Van Diemans Land, and Mr. Rogers went with his company. Though repeatedly invited to return home, Sergeant Rogers as he had become, steadily refused; he had not forgotten, and I believe never did forget, the domestic trouble that drove him from home, and from the probabilities of a distinct position in the best circles of England. In connection with private theatricals at Hobart Town Rogers showed marked ability, even among the professionals with whom he sometimes appeared. The Colonel of the regiment, a patron of the drama, gave Mr. Rogers every latitude, and the lady lessee of the theatre attached to the Freemasons' Hotel, in Harrington-street, Mrs. Clarke, was eager on all occasions to obtain his services. The Colonel was a frequent visitor behind the scenes, and the fair lessee worked her point very adroitly. Though enlisted for 21 years, the term of the service, and though unwilling that the regiment should lose the services of such a steady man as Sergeant Rogers, the Colonel admitted that there was nothing in the regulations to prevent Sergeant - Rogers buying himself out of the army, provided that he (the Colonel) saw no objection. With such a fair pleader the Colonel was brought to see no objection, and Sergeant Rogers became Mr. Rogers, of the Theatre Royal, Hobart Town. I believe the fair lessee found the sovereigns with which to make the novel purchase, but as Mr. Rogers the actor was as great a favourite as was Sergeant Rogers the soldier, the indebtedness was soon wiped out.

In a particular range of old men Mr. Rogers had no compeer in Australia. Mr. J. C. Lambert has been frequently brought into comparison, but, though frequently playing the same characters, no comparison could be made; both excelled, because both gave distinct and widely different readings. In such characters as Sir Anthony Absolute, Mr. Rogers led, while as Sir Peter Teazle, Lambert's rendering was the more refined, the more courtly; yet when you saw Rogers as Sir Peter, you were forced to inquire whether Sheridan meant the baronet to be courtly or ''country," for that is how I distinguish between the pair. Sir Anthony suited Rogers eminently; the choleric old baronet was personified to the life. I remember on one occasion, in the middle of a scene, where Sir Anthony leaves, having "disowned" his son, the Captain, the enthusiasm of the audience rose to such a pitch that the actor was compelled to return and bow his acknowledgments. In such parts as Mr Hardcastle ("She Stoops to Conquer") Grandfather Whitehead, Lord Duberly, Lord Ogelby, and old men in domestic drama and high comedy, his sway with the audience was unbounded. In his acting he was sympathetic to a degree. I recollect, at the Melbourne Theatre Royal, when Lady Don reappeared in the "Daughter of the Regiment," how sympathetic the house was, the sympathy being induced by one little touch of nature on the part of Mr. Rogers, the touch that makes us all kin. Lady Don had left her husband, Sir William, in a Hobart Town grave. It was her first appearance, I think, since his death; certainly it was her first in Melbourne since the sad event. Rogers was the old sergeant of the play. When Lady Don came to the front she completely broke down, and, falling on the shoulders of "old Rogers," she sobbed aloud. It was no stage trick, but the genuine outburst of a heart that had sustained an irreparable loss. The old sergeant took her to his arms, and gently patting her on the shoulder whispered words of condolence. The audience silently awaited the recovery of the lady, and when she was able to speak her first lines, Lady Don had no reason to be other than satisfied with her reception. She was still remembered, and her dead husband had not been forgotten.

Coming to Mr. Rogers' professional career, Mr G. V. Brooke expressed the opinion that he equalled William Farren; and Charles Mathews, when in Australia, expressed his wonder that Rogers had never tried the British stage, as he was sure that he would have been successful. Charles Mathews offered, if Mr. Rogers would go to London, to ensure him an engagement, but Rogers was too deeply rooted in the affections of Australian playgoers to take the trip— not that he had any reason to believe that he would be a failure. Mr. Rogers married a sister of the late Charles Young, comedian (see "Sportsman," 22/6/'04), and left a family of six, three sons and three daughters. Two of the latter adopted their father's profession. One of the sons is Mr. Horace Rogers, reporter, of the "Sydney Morning Herald." Mr. G. H. Rogers died at Melbourne on February 13, 1872, the cause of death being the bursting of a blood vessel, his age being given as 53 years. The genial actor, good citizen and staunch friend, was buried in the Melbourne General Cemetery, in close proximity to a number of players who had "gone before"— Ellen Mortyn, Marie St. Denis, Mrs. Vickery, Hattie Shephard, and many others. On his tombstone are inscribed the lines by Longmore: —

"There is no death; what seems so is transition.
This life of mortal breath
Is but a suburb of the life Elysian,
Whose portal we call death."

Referring to Mr. Joseph Wyatt, who built the Victoria Theatre in 1838, I have described him as a leather merchant and ironmonger having his place of business next to the School of Arts in Pitt Street I find that Mr. Joseph Wyatt was a draper carrying on business in the early thirties (and before) at "16 Lower Pitt street," at No. 15 being his brother William, carrying on as a boot and shoemaker or dealer. The number then stood to the north of the School of Arts of today. In 1844 Mr. William Knight was the leasee of the Victoria Theatre, while Mr Joseph Wyatt occupied the Victoria Hotel, attached. On the southern side Mr A. J. Levy kept the Garrick's Head, and on the northern a few feet away, Mr. William Dind, of very healthy memory in connection with theatricals, kept the Star and Garter. On the corner of King-street was the Black Boy Inn afterwards known as the Liverpool Arms and, when kept by Ben Palmer and J B Moore, a house of call for theatrical people. Nearly opposite the Victoria Theatre a little to the north perhaps, was the Clown Inn, kept by no less a personage than George Coppin, then 25 years of age, now with 60 added on, and still hale and hearty and talking of spending £20,000 on alterations end improvements to the Theatre Royal, Melbourne. This Clown Inn was one of Mr. Coppin's unfortunate speculations. He did not, however, risk his all there, but quickly went to Launceston, as seen above, where he showed that he knew more about drawing audiences than he did about drawing beer. I believe the old gentleman, if he once more appeared in the "Spider Dance," or as Jem Baggs in the "Wandering Minstrel," would draw again. With the exception that Mr. Coppin was succeeded in the Clown Inn by Mr. Geo. Skinner, who in the same year removed himself and the name to a house at the corner of Hunter and George streets; that Mr. William Knight had become a landholder; and that John Gordon Griffiths, whose private residence was in Bligh street, had succeeded him as lessee of the theatre, the occupants of 1844 held their positions for some years after. In those days publicans and innkeepers were not "rolling stones."
In 1843 Mr. Joseph Simmons, restless when unoccupied, opened the City Theatre in Market-street, where now stands an hotel, two doors from George-street. I am not sure that it is not the actual building with a new front. Associated with Simmons in this venture was a Mr. Bellmore, of whom little is known. The theatre was opened on May 20, Nesbitt M'Cron delivering a prize address. There were three pieces staged, "The Balance of Comfort," "The Painter of Ghent," and "Magnetic Influence." The company included Knowles, Fenton, Belfield, Meredith, Phillips, Madame Goutrot, Senora Ximenes, Mrs. Wallace, and three "Misses" Jones, Taylor, and Thompson. The population was not large enough to support two playhouses, and the smaller went to the wall. For a time the "City" became an auction mart, but in the early seventies Mr. Michael Hegarty, hailing from Melbourne, came along, secured the premises, and opened them as a cafe, the attraction being the waitresses in fancy bloomer costumes. I believe the venture did pay, as Mr. Hegarty enlarged his sphere of operations and removed to the old Adelphi, in York-street, of which more anon.

Of the company performing under Mr. Simmons, one is remembered well in Sydney by the old generation — Mr. P. Belfield, better known by the sobriquet of "Paddy Belfield", though his name was Peter. Mr. Belfield was a tailor by trade, to which he reverted when he left the stage, or the stage left him. My last recollection of Mr. Belfield as an actor was when he played the King in "Hamlet" to Barry Sullivan at the old Royal, in Melbourne, when Sullivan was playing his first engagement in 1862. Truth compels me to say that I had never seen the King so played, before or since. I believe, like dear old "Paddy," Gardner, Mr. Belfield at one time appeared in Irish characters, and I am of opinion that he could play such. In the early seventies Mr. Belfield was in business as a tailor, in partnership with his son Francis, in the now Oxford-street, near the old Robin Hood Inn, between Brisbane and Edward streets. While there he conceived the idea that the Surry Hills and Woolloomooloo should be able to support a theatre of their own, and that that theatre should be "agin his own door." Negotiations were opened up with Mr. Sydney Burdekin, who granted a lease of certain vacant land in Liverpool-street, with a right of entrance from Oxford-street. The site was about midway between the old-time Blind Beggar public-house— now Andy Flanagan's — and the lane leading down to Yurong-street. The shares were £1 each, payable, I think, in shilling subscriptions. The walls got up some feet when the funds ran short, and the scheme collapsed. Sydney Burdekin seized the bricks and built a neat row of cottages on the site. Mr. Belfield subsequently started business in George-street, Brickfield Hill. "One morn I missed him on the accustomed hill," and found that he had become the lessee of the Victoria Hotel, attached to the Victoria Theatre, in Pitt-street. That was in 1878. He played the part of host for a few years, and returned to his trade, this time in Liverpool-street, a few doors from George-street, and here he made his "last stand." In 1889 he was gathered to his fathers, after an extended colonial career, varied by many ups and downs. All said and done, there were many worse men than the old Thespian, "Paddy" Belfield.

(To be continued.)

On Satuiday evening last, the performances were distinguished by the first appearance in this Colony of a very beautiful and affecting melodrama, called ' The Gambler's Fate,' which is without exception one of the best pieces ever yet produced on the Tasmanian stage. As, in all melodramas, the dialogue possesses no peculiar merit of itself; but there are expressions used throughout this piece, which coupled with the incidents related and represented, cannot fail to sink deeply into the hearts of even the most hardened hearer. The train of dreadful evils (brought upon him-self by this pernicious vice ) which befall the Gambler, Albeit, are natural find well conceived ; but there appears to be something wanting to explain the success and career of Henry, who is merely introduced, and murdered without being allowed to account for himself. Either the author has omitted a scene which ought to have been rendered extremely effective, and which in fact was necessary, or Mr. Cameron must have have cut something out for want of strength and materiel. We suspect, however, that the emission lies with the author, as writers of this class of plays think nothing of consistency so long as they can produce effect. But as we have said before, the piece, as a whole, is entitled to rank among the best melodramatic productions of the English stage, and is not inferior to Clari the Maid of Milan.

It was, however, seen on Saturday to great disadvantage. The scenery was for the most part ill adapted, the stage is far too small, and the actors all unpractised in their parts. The introduction of a party of the military on the stage had an excellent effect ; only we noticed that the men did not exactly see the beauty of the new drill they were put through ; and accordingly were not so ready at the word of their Theatrical Captain (Jacobs) as we have seen them on the military parade ground. Still the effect' was good. Mr. Cameron in Albert was, as he usually is in all his characters, well received, as was the Julia of his accomplished and esteemed lady, and Fenton, in the villain Malcour, was more than respectable. Of the rest (if we except Jordan's Baalcomb, we cannot say much that' complimentary. Indeed, they had little to do, and a depression of spirits, which appeared to prevail with all the company prevented their doing that little so well as we know they can do it. In this re-mark of course we do not include the two amateurs—the interesting little girl who played Rose, and Mr. Austin. Their assistance deserves our acknowledge- ments, and had they even placed ill, which they did not, they are entitled to escape the censure of the Press. The last two scenes of the piece were better sustained than the former part ; but here was a miserable deficiency of scenery and properties ; and the same depression and want of fire was evinced even by Mrs. Cameron. And can we feel surprised at it when we say that there was not sufficient people in the house to pay expenses? Is it to be wondered at that Mr. & Mrs. Cameron, after having been induced by the glowing promises of public support to locate themselves, and bury their talents in Van Diemen's Land, and moreover, to sink their whole capital in fitting up a respectable Theatre, at the call of the public, should feel dispirited and dejected on finding night after night that their exertions are not encouraged ? Certainly not ; and that their company, a better than which we have no right to expect, nor can we desire, in Van Diemen's Land, should participate in that dejection is not at all surprising. Thus is the writer disarmed of his severity - his gall-dipped pen drops from his fingers, as he contemplates such an instance of unmerited public neglect. Had Mr. Cameron thrust himself upon the people, the case would have been widely different ; but he was sought for, courted, entreated, persuaded, and is now neglected — in a fair way of being ruined !

This is a reproach to the Colonial public. Will they continue to lie under it ? - -We hope not.

After the Play, the Musical Entertainment of Inkle and Yarico followed Spencer, in Inkle, evinced signs of improvement ; but Jacobs was not so good as usual in Medium. Fenton, as Sir Christopher Curry, in the scene with Inkle, where the latter offers to sell Yarico, was excellent ; and Jordan's Fudge was also good. Collins, in Campley, was as flat as dead small beer ; nor was Miss Morris, in Nerissa, a bit better. Miss Rhudelhoff, in Wowsky, made a mighty plump ' Nigger ' ; of Mrs. Cameron's Yarico, we scarcely know what to say ; certainly it is not her favourite character, although in some of the simple expressions of ardent and unsophisticated affection, she was all that could move a man to love and pity.

Before we leave this notice, we must complain of the dreadful time suffered to elapse between the acts. In the Gamber's Fate it was announced that twenty years are supposed to intervene between the first and second acts, and really we were inclined to think that such a lapse in reality was to take place.

On Monday evening the Melo-Drama of the Gambler's Fate was repeated to a much better house, and in much better style ; from which it is evident, that the deficiencies, observable on the occasion of its first production, arose, not from any incapacity on the part of the performers, but from the causes assigned by us, viz. the neglect of the public, and being unaccustomed to melo-dramatic acting.

On the last representation of the piece, all the actors were far more perfect, and thus the piece appeared to greater advantage. Several additional dresses were introduced, which rendered the acting more effective. One prodigy we must not again omit to notice, which was the acting of Master Earle, A child only four years of age ! which on both evenings elicited thunders of applause. As the little fellow, who is a very interesting child, tripped over the stage with unerring precision to the beautiful symphony of Haydn from the Surprise, the admiration of the audience burst forth in peals of well deserved applause. To see a child so young possess so true an idea of musical time and stage effect, is a something nearly approaching to a colonial prodigy. This child is not new to the public, having sung the song of ' Nice Young Maidens' at Mr. Mackay's Theatre, at Roxboro' House, (by which by the way, we regret to say, this justly favourite and enterprising actor sustained a severe loss while endeavouring to cater for the public amusement in the absence of Mr. Cameron), where he was well received. It was an omission on our part not to notice this little fellow before ; but we feel convinced that his precocious talent will not be the less duly appreciated by the public.

Of the other performers having already noticed, we need say no more than that they were all far more perfect, and all played considerably better than on the first night.

The first night's representation of the 'Gambler's fate' and " Inkle and Yarico, was so favourable as to engage our attention on Friday night last, to see the repetition of these pieces. We were much disappointed, on finding the exertions of Mr. Cameron, to a very numerous and respectable audience so frustrated by the negligence and absence of several of his performers.

We attended the Theatre on Saturday night last, and were highly gratified with the performance, for. notwithstanding, the house was so poorly attended, there was no want of exertion on the performers' parts, to please.

Greet praise is due to Mr. and Mrs. Cameron, who have been at a heavy expense, in affording the public a proper, selection and concentration of talent. We really wish our townsfolk would dispel the gloom and apathy that seem to pervade them ; and lessen that apparent distaste, by patronising, as far as their means will afford, this pleasing and instructive source of amusement. No fault what ever, can be found now. with the comfort and convenience intended for the audience, as the greatest decorum was observable in the upper seats, where we saw many old faces, who formerly visited the rooms, in their chaotic state, and who show their sense of Theatrical improvement, under its present directors, by the most orderly behaviour. We say, without fear of contradiction, that the most modest and affected may safely visit the Theatre, without fear of offence or insult. The Gambler's Fate, a new drama here, was performed in a very respectable and interesting manner. " Mr. Camerons "' performance of the deluded " Albert,'' was studious, chaste, and void of those exaggerations so prevalent in Melo Dramas. We should be deficient. Indeed, did we not praise Mrs. Cameron's finished and touching delineation of the distressed, broken hearted, and motherly " Julie.''

Mr. Grenville's declamation was far from pleasing ; but his manner and action were very expressive of the distressed feelings of an unhappy and disappointed parent. Mr. Fenton's " Malcour," was a masterly piece of finished villainy ; and however despicable the real character, the performer's delineation merited great praise. Mr. Mackay, as usual, was perfect and masterly, in " Dumont ;" if there is one declaimer superior to another in the company, it is he. Old Jacobs was at home, but certainty bore more than usual the appearance of " Major Sturgeon," and acted more like Bombastes Furioso, than a French officer. The trifling, yet interesting character, of "Henry," was attempted by a new candidate, who was smartly trimmed, as a young officer should be ; but his deficiency of physical powers and strength, united to his inexperience of the art, rendered him totally incompetent to represent those transient changes of nature, incidental to such characters. He must therefore have failed, had he not been so powerfully assisted by Mrs. Cameron as a mother, in the most exciting part of the piece. We do not wish to offend him, but must observe that his person appears too well fitted for the costume of a light company man ; and however his vanity may exceed his conception, we never expect to see him a tragic hero equal to " Alexander the Great." For reasons so powerful, we advise him to try to dispel his Theatrical mania, and renew his more profitable and stenographic avocation. The other characters were generally respectably supported ; and the whole company, throughout the performance, did great credit to the laborious instructions they must have received from the Managers.The evening's amusement closed with that very amusing and pleasing piece,

Inkle and Yarito. Mr. Spencer is generally much too volatile. We hope that frivolous, fripperish manner, in which he indulges too much, is occasioned by his anxious precipitance to please ; to effect that he must act less. Mr. Jacobs, if he will exercise his common sense and discrimination, will use less of that extravagant mimicking elasticity, as such outstrips nature, in such characters as Medium ; and which savors so much of buffoonery,—he should recollect he is not playing the mountebank, nor to a Bartholomew Fair audience. Mr. Fenton's " Sir Christopher Curry," was admirably seasoned, and wanted not for cayenne. The little remonstrative dialogue between him and Inkle, was very respectably maintained. Mrs. Cameron's Yarico, although considered a very trifling character, was a specimen of characteristic, wild elegance, rarely to be seen. The whole evening's performance, considering the disadvantages under which the Manager labors, was very respectable ; and not at all inferior to the productions of many of our provincial Theatres in England. In a general point of view, it could not fail to gratify the most fastidious observer.

We understand the Theatre will be opened three nights a week, and as The Gambler's Fate, which is an instructive lesson to youth, will be repeated, we hope its interest will increase, and draw good Houses.

Last week was closed the first season of the
performance of the legitimate drama in Van
Diemen's land. When the curtain dropped
Mr. Cameron came forward and addressed the
audience in the following terms:—
Ladies and Gentlemen,—
As the first season of the first theatre in
Van Diemen's Land has drawn to a close, it 
is with the deepest feelings of gratitude that I
present myself before you to return my most
sincere thanks for the warm support you have
been pleased to bestow upon our exertions, and
believe me those exertions will never cease till
I render the drama in this part of the world
still more worthy your approbation and sup-
port.
But I have farther to thank you for the pa-
tience and indulgence with which you have
overlooked the many deficiencies attendant up-
on a first attempt.
I have also to return the heartfelt thanks of
Mrs. Cameron and the members of the com-
pany generally for the cheering favor with
which you have invariably received their en-
deavour to please.
And now ladies and Gentlemen, till I have
the pleasure of meeting you in a more com-
modious edifice, which the spontaneous kind-
ness of the public is now preparing for me, I
respectfully bid you farewell.
On Monday the whole of Mr. Cameron's
company, with all the scenery, dresses, and
decorations proceeded across to Launceston.
The room engaged there is far more spacious
and convenient for the purpose than that at
the Freemason's Tavern, in which Mr. Ca-
meron has so successfully commenced dramatic
exhibitions in Van Diemen's Land. If carried
on in the orderly and prudent manner in which
it has hitherto been conducted, he cannot fail
to succeed and give much public satisfaction