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George Coppin
- Actor, Administrator: Theatre Manager, Musician, Publicist
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The Farewell Benefit of Mr Lazar | Sweethearts and Wives | Boots at the Swan, 25 November 1850
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My Poll & My Partner Joe | Billy Barlow | The School for Scandal | The Ladies’ Club, 15 April 1850
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Tom and Jerry | Billy Barlow | Green-Eyed Monster, 8 April 1850
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Tom and Jerry | Billy Barlow, 5 April 1850
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The Battle of Austerlitz | The Ethiopian Serenaders | Woman's The Devil, 4 April 1850
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The Cataract of the Ganges | The Two Mrs White’s | Bombastes Furioso, 1 April 1850
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The Flower Show | The Horticulturalist | Ethiopian Serenade, 22 February 1850
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The Lady and The Devil | The Soldier and The Peasant | The Rendezvous, 21 February 1850
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The Beggar's Opera | Ethiopian Serenaders, 17 December 1849
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Hamlet | Wandering Minstrel, 3 December 1849
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No Song No Supper | The Loan of a Lover | Ethiopian Serenaders, 24 November 1849
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Aldgate Pump, 12 November 1849
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The King and The Comedian | Hercules, King of Clubs | The Wandering Minstrel, 7 May 1849
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Mr Coppin's Farewell Benefit | Angeline le Lis | The Ethiopian Serenaders, 27 January 1848
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The Poor Gentleman | The Wandering Minstrel, 12 October 1847
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Presumptive Evidence | Wife's First Lesson | The Happy Man, 10 July 1847
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Hamlet | A Day After the Wedding, 17 June 1847
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False Accusation | The Wedding Day | The Sleeping Draught, 10 April 1847
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Mrs Caudle on the Mineral Interests of the Colony, 10 April 1847
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The Old Woman | The Wedding Day | The Sleeping Draught, 1 April 1847
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Youthful Queen | Maid of Perth, 27 March 1847
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The Maid of Malines | Mischief Making | Hercules, King of Clubs, 25 March 1847
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Brigand of the Alps | Blue Jackets, or Female Jack Tars, 20 March 1847
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Cross of Gold | Mrs Caudle's Curtain Lectures, 18 March 1847
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Fox and Wolf | Why Don't She Marry? | The Spitalfields Weaver, 13 March 1847
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The Turf | Illustrious Stranger, 2 January 1847
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The Three Wishes | Sarah the Jewess, 28 December 1846
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The Three Wishes | The Golden Farmer, 26 December 1846
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Ellen Cameron | Paul Pry | Why Don't She Marry?, 19 December 1846
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Lady of Lyons | Our Mary Anne, 17 December 1846
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Mary Stuart, Queen of Scots | The Rent Day, 14 December 1846
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The Spitalfields Weaver | Why Don't She Marry? | Mabel's Curse, 12 December 1846
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The Stranger | Our Mary Anne, 10 December 1846
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Lady of Lyons, or Love and Pride, 3 December 1846
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Blak-Eyed Susan, 30 November 1846
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The Robber's Wife | Jack Robinson and His Monkey, 28 November 1846
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Jack Robinson and His Monkey, 23 November 1846
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The King and The Comedian, or The Monarch and The Mimic, 21 November 1846
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German Mining Brass Band Concert, 17 November 1846
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Golden Farmer, or The Last Crime, 16 November 1846
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Love, Law and Physic | Illustrious Stranger, 14 November 1846
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The New Queen's Theatre Opening Night, 7 November 1846
John Lazar
- Actor, Administrator: Theatre Manager, Publicist, Technical Manager
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Raising the Wind | Turn Out, 28 November 1850
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The Farewell Benefit of Mr Lazar | Sweethearts and Wives | Boots at the Swan, 25 November 1850
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Richard III | Bachelor's Buttons, 29 August 1850
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Rob Roy | The Bashful Man, 19 August 1850
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Foundling of the Forest | Ran Dan Club, 15 August 1850
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My Poll & My Partner Joe | Billy Barlow | The School for Scandal | The Ladies’ Club, 15 April 1850
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Tom and Jerry | Billy Barlow | Green-Eyed Monster, 8 April 1850
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Tom and Jerry | Billy Barlow, 5 April 1850
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The Battle of Austerlitz | The Ethiopian Serenaders | Woman's The Devil, 4 April 1850
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The Cataract of the Ganges | The Two Mrs White’s | Bombastes Furioso, 1 April 1850
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The Tempter | The Milliner's Holiday, 28 March 1850
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The Flower Show | The Horticulturalist | Ethiopian Serenade, 22 February 1850
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The Lady and The Devil | The Soldier and The Peasant | The Rendezvous, 21 February 1850
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Quadrupeds, 12 January 1850
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The Beggar's Opera | Ethiopian Serenaders, 17 December 1849
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Hamlet | Wandering Minstrel, 3 December 1849
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No Song No Supper | The Loan of a Lover | Ethiopian Serenaders, 24 November 1849
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Aldgate Pump, 12 November 1849
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Tower of Nesle | Pickaninny, 10 November 1849
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The King and The Comedian | Hercules, King of Clubs | The Wandering Minstrel, 7 May 1849
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The Dancing Barber | Dominique the Possessed, 21 February 1848
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Richard III | Bachelor's Buttons, 29 August 1850
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Rob Roy | The Bashful Man, 19 August 1850
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My Poll & My Partner Joe | Billy Barlow | The School for Scandal | The Ladies’ Club, 15 April 1850
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Tom and Jerry | Billy Barlow | Green-Eyed Monster, 8 April 1850
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Tom and Jerry | Billy Barlow, 5 April 1850
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The Battle of Austerlitz | The Ethiopian Serenaders | Woman's The Devil, 4 April 1850
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The Cataract of the Ganges | The Two Mrs White’s | Bombastes Furioso, 1 April 1850
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The Flower Show | The Horticulturalist | Ethiopian Serenade, 22 February 1850
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The Lady and The Devil | The Soldier and The Peasant | The Rendezvous, 21 February 1850
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The Beggar's Opera | Ethiopian Serenaders, 17 December 1849
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Hamlet | Wandering Minstrel, 3 December 1849
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No Song No Supper | The Loan of a Lover | Ethiopian Serenaders, 24 November 1849
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Foundling of the Forest | Ran Dan Club, 15 August 1850
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My Poll & My Partner Joe | Billy Barlow | The School for Scandal | The Ladies’ Club, 15 April 1850
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Tom and Jerry | Billy Barlow | Green-Eyed Monster, 8 April 1850
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The Battle of Austerlitz | The Ethiopian Serenaders | Woman's The Devil, 4 April 1850
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The Cataract of the Ganges | The Two Mrs White’s | Bombastes Furioso, 1 April 1850
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The Tempter | The Milliner's Holiday, 28 March 1850
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The Lady and The Devil | The Soldier and The Peasant | The Rendezvous, 21 February 1850
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Hamlet | Wandering Minstrel, 3 December 1849
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No Song No Supper | The Loan of a Lover | Ethiopian Serenaders, 24 November 1849
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The Dancing Barber | Dominique the Possessed, 21 February 1848
Evans
- Dancer, Musician, Singer
Howard
- Actor, Actor and Singer, Musician: Hornist, Singer
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The Lady and The Devil | The Soldier and The Peasant | The Rendezvous, 21 February 1850
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The Dancing Barber | Dominique the Possessed, 21 February 1848
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Wardock Kennilson | The Omnibus | My Fellow Clerk, 3 February 1848
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The Turf | Illustrious Stranger, 2 January 1847
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Ellen Cameron | Paul Pry | Why Don't She Marry?, 19 December 1846
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The Spitalfields Weaver | Why Don't She Marry? | Mabel's Curse, 12 December 1846
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Lady of Lyons, or Love and Pride, 3 December 1846
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Love, Law and Physic | Illustrious Stranger, 14 November 1846
Oliffe
- Actor, Singer
Macdonald
- Actor and Singer, Musician, Singer
Rombo Sombo
- Actor and Singer, Singer
Jacobs
- Actor, Dancer, Musician: Hornist
Myers
- Dancer, Musician, Singer
Thompson
- Actor, Musician
Webster
- Actor, Musician, Singer
Elmer
- Actor, Actor and Singer
Hall
- Actor, Dancer, Musician: Hornist
J C Lambert
- Actor, Dancer, Musician
Lee
- Actor, Actor and Singer
Smith
- Musician
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Advertisement: Richard III / Bachelors Buttons Advertising, Adelaide Times (SA : 1848 - 1858), 29 August 1850, 2
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We are always desirous of encouraging every innocent recreation, and unwilling to injure private interests in our remarks upon public amusements. In that spirit we have frequently noticed the performances at the Theatre, giving most ungrudgingly the praise we considered the manager deserved, for keeping the house open when, it appeared to us, the attendance was not sufficient to protect him from loss. Our notices were occasional, as our visits were irregular; but whenever we referred to the Lazars (as actors), we did so in terms of commendation, and' were not critically severe on anything. We made every allowance for the insufficient support received, and we were complaisant enough to suppose that there really was no histrionic talent in the colonies, except that possessed by the manager, his family, and the ''ladies and gentlemen" whose 'sweet voices' he secured. We sneered not at the taste that, with such appliances, suggested the production of "Grand Oriental Spectacles," or the manner in which they were got up; the miserable contrivances were passed over; the shabby wardrobe unnoticed; the wretched scenery uncondemned, although never appropriate to the piece, nor in keeping with itself, and seldom shitted into the intended position until it was time to re move it again, while, through the openings, the audience were favoured with "long-drawn vistas" into that terra incognita, the back of the stage. We complained not of trees and flowers growing in the recesses of a "donjon keep", or marble columns springing from the deck of a vessel, and were content to imagine a little back parlour a Parisian saloon ; a cottage, with a practical door, an Italian colonnade. We carried our critical forbearance further, and, in consideration of the "rapid succession of novelties," were satisfied with as much of each piece as the players and the prompter pleased to give us, nor did we protest against the curtailments of the one nor the interpolations of the other. We forgave alike the ruthless scissors of the manager and the treacherous memory of the mimic, who frequently substituted his own amusing mistakes for the "ponderous levity" of his author. We have heretofore only noticed to praise, or "with mute expressive silence mused" our disapprobation; but we can pursue that course no longer without a dereliction of duly. For some time past we have noticed, with pain, that Lazar, to provoke a laugh, never hesitates to broach indecency. He deals out, with unblushing effrontery, allusions culled from or calculated for the especial gratification of the ladies of Light-square, who are, we confess, his firmest supporters. But on last Saturday evening he exceeded himself, and so outraged propriety as to merit the interference of the police, who are, we imagine, bound to suppress obscenity on the stage as well as in the saloon or any other public place. If the police have not power to interfere, it is time that such a system of licensing such places were adopted as would furnish the guardians of peace, good order, and public decency, with the proper power to prevent the repetition of immoralities like those referred to. We have seen Lazar "so overstep the modesty of nature" as to compel even the prostitutes to blush, and send the indignant blood tingling to the ear- tips of every decent man in the house. There can, to our minds, be no greater, no more dangerous nuisance, than an indecently conducted theatre —no greater theatrical atrocity than to announce a "juvenile night," to lower the prices so as to induce an attendance of young people, and then to present an entertainment not only indecent, but brutally and unnaturally so. We cannot praise that man's spirit who keeps open a Theatre, even at a loss to himself or his supporters, who can outrage all propriety by the unwarrantable introduction of filthy obscenities in the presence of a mixed audience, including a member of his own family. We are bound to warn all parents against permitting their children to attend this hotbed of demoralization. As the Theatre is at present conducted, no man can sit out a performance without being disgusted; no lady can enter the impure precincts without contamination.
Article: A Licentious Stage, The South Australian Register, National Library of Australia, 16 January 1850, 3
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Dramatic Hall—A paltry imitation of a theatre, under the above pompous title, was opened about a month ago, in Leigh-street, under the auspices of Jacobs, Elmer, and Gardner-three fourth or fifth-rate actors, previously discarded by the manager of the " New Queen's Theatre." The place, as might be expected, soon became the rendezvous of all the loose characters about town-so much so, that the landlord of the inn, of which the "Hall" formed a part, very discreetly shut up the place, at the close of the play, on Thursday evening last. The expose at the Court House, in the case of " Lazar v. Stephens," is said to have had something to do with the " canny " landlord's " shutting up shop." In that trial one of these persons was flatly contradicted by two witnesses on oath; another, on being pressed, prudently knew nothing at all of the matter; and the third acknowledged himself a convict, and not married to the female who passed here for his wife. The Register has been praising the " Dramatic Hall," as a " place where respectable citizens could bring their wives and daughters, without fear of their being put to the blush !" So much for his vaunted " Christian principle," and "guardianship of public morals."
Article: A Licentious Stage: Dramatic Hall, Adelaide Times, 11 March 1850, 3
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Article: A Licentious Stage: Lazar v Stephens action for libel, Adelaide Times, 4 March 1850, 3-4
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Article: A Licentious Stage: Lazar v Stephens Supreme Court - Civil Side, Adelaide Observer, Adelaide, 1 March 1850, 1
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Article: A Licentious Stage: Lazar v Stephens Supreme Court Hearing, South Australian (Adelaide, SA: 1844 - 1851), Adelaide, 5 March 1850, 2
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Article: A Licentious Stage: Lazar v Stephens, The South Australian Register, 4 March 1850, 2
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Article: A Licentious Stage: Lazar's response, The South Australian Register, National Library of Australia, 22 January 1850, 3
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STRAY LINES. [We do not insert the following in compliment to the author, who is quite unknown to us, and, as we suspect, to poetic fame; neither do we publish them to rescue intrinsic merit from obscurity; but simply because there is an honest quaintness about them which we admire.--Ed.] If poets are poor, may not rhymes be rich? Or are both to be penniless?--no matter which; As I'm of the latter, my fortune I'll wage, A man or a mouse, on a licentious stage. Yet I may be at best but a very bad judge, And all my bombast and my splutter be fudge! Should I gain but two farthings, would I, in a rage, Crest-fallen, abandon a licentious stage? But if I'm a man--why debase myself so? A true man could never, I think, stoop so low; A modest man could not, in this present age Even mix himself up with a licentious stage. Yet a reason I have, and my reason is good-- That my cronies and friends all agree that I should Try my powers as logician, philosopher, sage; And prove mankind blest by a licentious stage. But, alas, for the manners! alas, for the Times!! I fear I had better continue my rhymes; For a penny a line if I write half a page, Pays better by far than a licentious stage. For a pure-minded man must be happier far, Than a Solomon was, or is now the Czar: While mad dissipation still seeks to assuage Its thirst, but in vain, from a licentious stage. OLD COLONIST
Article: A Licentious Stage: Stray Lines poem, Adelaide Observer (1843-1904), 16 March 1850, 1
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The polite recreation of the citizens is about to be again provided for, in a new theatre, capable of seating upwards of 500 persons, and to be built at the expense of E. Solomon, Esq., whose former large building devoted to the cultivation of the drama, was leased to the Government as the Courts and Offices of Law during that fearful declension of property, now become matter of history; and so happily succeeded by an unmistakable reaction. The new theatre, for the erection of which tenders are advertised in our impression of this day, hasbeen ably designed by Mr Price, and is to be forthwith erected on the land adjoining the "Temple Tavern", for the special occupation of Mr Coppin's newly arrived company, and the intended establishment, as designed, is pronounced by competent judges to be a unique specimen of this kind of architectural arrangement, and to be admirably adapted to the climate, the stage will be of very ample dimensions, the orchestra judiciously planned, and the audience portion of the theatre, which will consist of boxes and pit only, will be capable of that perfect supervision which is so necessary to the comfort and credit of 'the house.'
Article: Local Improvements: New Queen's Theatre, The South Australian Register, 16 September 1846, 1
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Want of space has prevented our noticing the proceedings at the New Queen's Theatre for the last week. Novelties have been the order of the day, amongst which we may mention as the most successful productions, Bulwer's celebrated play of the Lady of Lyons. The farces of Hercules, King's Gardener, Our Mary Anne and the play of the Lady of Lyons were very carefully produced; and Mrs Coppin, as the heroine, was all the author could have wished. We know not which to admire most, the splendour of her dresses or the beauties of her acting; one cannot surpass the other for they were both equally elegant and true. Thompson, as Claud, was good, and would have been much better had he studied the author more; Bulwer's language is not to be trifled with, and ought not to be neglected. Deering threw more character into the General than he does into many parts, and of course was the more effective. Coppin had little to do, but certainly added to the strength of the cast by making his character stand so prominent as he did. Jacobs was a decided failure. Douglass made the most of his few lines. We hope to see the Lady of Lyons repeated.
After the play the Manager gave the musical portion of his patrons a treat by introducing Messrs Thompson and Macdonald before them on the Violoncello and Cornet-a-Piston. These gentlemen favoured us with two solos in a masterly style, and were warmly received. The farces were excellent, chiefly to exhibit the fun of Coppin and his lady. The only regret we have is that some of our leaders of fashion have not patronised the Theatre upon a night especially devoted to them. The Manager is making a bold attempt to establish the Legitimate Drama for one night in the week, and if the parties that ought to support it allow it to fall to the ground by their neglect or want of spirit, it will be a lasting disgrace upon them and the province generally.
It is with pleasure we draw the attention of the musical portion of our community to an advertisement of Mr Thompson, of the New Queen's Theatre. His performances on the violencello have stamped him as a first-rate musician, and we make no doubt of his capabilities to teach the whoIe of his announcement. We trust the amateurs will embrace this opportunity of improving themselves; and we certainly look forward with pleasure to a series of concerts so long wished for by the inhabitants generally.
Article: Local Intelligence: Lady of Lyons at The New Queen's Theatre, Adelaide Observer, 12 December 1846, 5
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Article: Mr Lazar and The Queen's Theatre, South Australian Gazette and Mining Journal, Adelaide, 16 March 1850, 4
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