Venue |
Theatre Royal
|
Address |
236 Bourke Street Melbourne VIC 3000 Australia
|
First Date |
16 July 1855 |
Last Date |
17 November 1933 |
Notes
| Rebuilt and reopened 1872 to seat 4000 after fire. Redesigned 1904. Demolished 1933 to make way for a department store. |
Map |
|
Latitude | Longitude |
-37.81305 | 144.96661 |
Events |
|
|
-
Oklahoma, 6 November 1959
-
The Maid of the Mountains, 4 November 1933
-
Music in the Air, 16 September 1933
-
The Quaker Girl, 22 July 1933
-
Hold My Hand, 17 June 1933
-
Our Miss Gibbs, 15 April 1933
-
The Command to Love, 25 March 1933
-
Waltzes from Vienna, 24 December 1932
-
The Mikado, 16 December 1932
-
The Yeomen of the Guard, 15 December 1932
-
Iolanthe, 14 December 1932
-
The Gondoliers, 13 December 1932
-
Princess Ida, 10 December 1932
-
Dorothy, 3 December 1932
-
Lilac Time, 12 November 1932
-
The Gondoliers, 10 November 1932
-
H.M.S. Pinafore / Cox and Box, 5 November 1932
-
The Mikado, 29 October 1932
-
Patience, 27 October 1932
-
The Pirates of Penzance / Trial by Jury, 22 October 1932
-
The Yeomen of the Guard, 15 October 1932
-
Iolanthe, 8 October 1932
-
Ruddigore, 1 October 1932
-
The Gondoliers, 26 September 1932
-
Tosca, 14 September 1932
-
Tales of Hoffman, 6 September 1932
-
La Traviata, 27 August 1932
-
Don Pasquale, 23 August 1932
-
Cavalleria Rusticana / I Pagliacci, 18 August 1932
-
Andrea Chenier, 10 August 1932
-
Faust, 6 August 1932
-
Il Trovatore, 2 August 1932
-
Barber of Seville, 27 July 1932
-
Carmen, 23 July 1932
-
Un Ballo in Maschera, 19 July 1932
-
Madam Butterfly, 14 July 1932
-
Rigoletto, 12 July 1932
-
La Boheme, 7 July 1932
-
Lucia, 5 July 1932
-
Aida, 2 July 1932
-
Blue Roses, 13 May 1932
-
Bitter Sweet, 26 March 1932
-
The Chocolate Soldier, 20 February 1932
-
Sinbad the Sailor, 26 December 1931
-
The Maid of the Mountains, 5 December 1931
-
Oh Lady, Lady, 21 November 1931
-
The Merry Widow, 7 November 1931
-
Florodora, 10 October 1931
-
Dearest Enemy, 12 September 1931
-
The Duchess of Dantzic, 22 August 1931
-
Tosca, 5 August 1931
-
Faust, 4 August 1931
-
Carmen, 1 August 1931
-
Patience, 25 July 1931
-
H.M.S. Pinafore / Cox and Box, 11 July 1931
-
The Yeomen of the Guard, 27 June 1931
-
The Mikado, 30 May 1931
-
Iolanthe, 16 May 1931
-
The Pirates of Penzance / Trial by Jury, 2 May 1931
-
The Gondoliers, 11 April 1931
-
Sons o' Guns, 31 January 1931
-
The House That Jack Built, 20 December 1930
-
The Cingalee, 15 November 1930
-
Mr. Cinders, 11 October 1930
-
Lilac Time, 6 September 1930
-
The New Moon, 19 July 1930
-
A Country Girl, 5 July 1930
-
The Belle of New York, 31 May 1930
-
Katinka, 19 May 1930
-
The Merry Widow, 26 April 1930
-
The Maid of the Mountains, 14 March 1930
-
Follow Through, 8 February 1930
-
Turned Up, 26 December 1929
-
Hold Everything, 2 November 1929
-
Brewster's Millions, 26 October 1929
-
Journey's End, 10 August 1929
-
Dracula, 20 July 1929
-
Sir Harry Lauder, 29 June 1929
-
The Five-O'Clock Girl, 18 May 1929
-
This Year of Grace, 30 March 1929
-
The Marionettes, 23 February 1929
-
Victory, 26 January 1929
-
Other Men's Wives , 22 December 1928
-
Interference, 24 November 1928
-
The Terror, 21 November 1928
-
The Ringer, 17 November 1928
-
The Silent House, 22 September 1928
-
The Patsy, 14 July 1928
-
The Girl Friend, 28 April 1928
-
The Girlfriend, 28 April 1928
-
The Trial of Mary Dugan, 31 March 1928
-
The Terror, 28 January 1928
-
Queen High, 24 December 1927
-
Frasquita, 9 July 1927
-
Wildflower, 27 November 1926
-
Brown Sugar, 30 October 1926
-
Is Zat So?, 16 October 1926
-
Katja, 18 September 1926
-
White Cargo, 14 August 1926
-
Give and Take, 31 July 1926
-
Tell Me More, 17 July 1926
-
Leave it to Jane, 5 June 1926
-
The Bad Man, 24 April 1926
-
Lilac Time, 9 January 1926
-
The Merry Widow, 2 January 1926
-
Lightnin', 29 November 1924
-
Kissing Time, 24 May 1924
-
Madame X, 24 May 1924
-
The Cabaret Girl, 25 March 1924
-
Sally, 15 September 1923
-
The Yeomen of the Guard, 1 August 1922
-
In the Shadow of the Glen / The Building Fund / The Workhouse Ward, 24 July 1922
-
The White-Headed Boy, 17 June 1922
-
The Bat, 6 May 1922
-
Paddy The Next Best Thing, 25 February 1922
-
A Night Out, 21 January 1922
-
The Laughter of Fools, 7 January 1922
-
The Yeomen of the Guard, 5 January 1922
-
Merrie England, 22 December 1921
-
The Sign on the Door, 5 November 1921
-
Firefly, 29 October 1921
-
Wedding Bells, 15 October 1921
-
His Lady Friends, 10 September 1921
-
Nightie Night, 30 July 1921
-
The Lilac Domino, 16 July 1921
-
Katinka, 2 July 1921
-
The Maid of the Mountains, 22 January 1921
-
The Boy, 23 October 1920
-
Kissing Time, 9 October 1920
-
Mrs Dot, 2 October 1920
-
The Marriage of Kitty, 25 September 1920
-
Penelope, 18 September 1920
-
The Duke of Killiecrankie, 11 September 1920
-
Outcast, 4 September 1920
-
The Girl in the Taxi, 21 August 1920
-
Yes, Uncle!, 12 June 1920
-
Yes Uncle, 12 June 1920
-
Going Up, 28 May 1920
-
Film Screening [The Truant Soul], 2 April 1920
-
Tilly of Bloomsbury, 20 March 1920
-
The Silent Witness, 13 March 1920
-
Kissing Time, 31 January 1920
-
Theodore & Co, 29 November 1919
-
Lightnin', 15 August 1919
-
Nothing But The Truth, 9 August 1919
-
A Tailor-Made Man, 5 July 1919
-
Bought and Paid For, 28 June 1919
-
The Silent Witness, 31 May 1919
-
Common Clay, 10 May 1919
-
Good Friday Night - Annual Festival of Sacred Music, 18 April 1919
-
Three Faces East / The Monkey's Paw, 13 April 1919
-
Madame X, 5 April 1919
-
The Great Divide, 8 March 1919
-
VENUE DARK - INFLUENZA EPIDEMIC, 29 January 1919
-
Nothing But The Truth, 26 December 1918
-
Film Screening [Hearts of the World], 30 November 1918
-
Potash and Perlmutter, 23 November 1918
-
The High Cost of Loving, 9 November 1918
-
Oh Boy, 5 October 1918
-
Oh, Boy, 14 September 1918
-
The Thirteenth Chair, 17 August 1918
-
The Man Who Came Back, 29 June 1918
-
General Post, 1 June 1918
-
Daddy Long Legs, 18 May 1918
-
Outcast, 11 May 1918
-
The Willow Tree, 27 April 1918
-
The Rainbow, 13 April 1918
-
The Cinderella Man, 30 March 1918
-
Good Friday Night - Concert of Sacred Music, 29 March 1918
-
Matinee in aid of the State War Councils Appeal, 12 March 1918
-
Within the Law, 9 March 1918
-
The Easiest Way, 2 February 1918
-
The Bird of Paradise, 22 December 1917
-
Mrs Dot, 1 December 1917
-
A Pair of Silk Stockings, 17 November 1917
-
Mary Goes First, 10 November 1917
-
Good Gracious, Annabelle, 27 October 1917
-
L'Aiglon, 6 October 1917
-
Outcast, 8 September 1917
-
Daddy Long Legs, 28 July 1917
-
Grumpy, 16 June 1917
-
A Little Bit of Fluff, 2 June 1917
-
Matinee benefit in aid of the widow of Tom Dawson, 22 May 1917
-
London Pride, 19 May 1917
-
Penelope, 5 May 1917
-
The Marriage of Kitty, 7 April 1917
-
Good Friday Night Concert of Sacred Songs, 6 April 1917
-
Fair and Warmer, 17 March 1917
-
film screenings [Intolerance], 24 February 1917
-
The Misleading Lady, 10 February 1917
-
The Woman, 6 January 1917
-
A Royal Divorce, 28 October 1916
-
Under Fire, 21 October 1916
-
Get Rich Quick Wallingford, 14 October 1916
-
A Full House, 30 September 1916
-
It Pays to Advertise, 23 September 1916
-
Too Many Cooks , 16 September 1916
-
The Land of Promise, 26 August 1916
-
The Story of the Rosary, 5 August 1916
-
Romance, 8 July 1916
-
Madame X, 5 July 1916
-
On Trial, 3 June 1916
-
Film Screening [Birth of a Nation], 20 May 1916
-
Get Rich Quick Wallingford, 6 May 1916
-
The Boomerang, 22 April 1916
-
Twin Beds, 25 March 1916
-
It Pays to Advertise, 29 January 1916
-
Under Fire, 1 January 1916
-
The Man Who Stayed at Home, 26 December 1915
-
Festival of Sacred Songs, 25 December 1915
-
Kick In, 11 December 1915
-
Stop Thief, 4 December 1915
-
A Pair of Sixes, 13 November 1915
-
Madame X, 6 November 1915
-
Bought and Paid For, 30 October 1915
-
Within the Law, 23 October 1915
-
Nobody's Widow, 9 October 1915
-
Under Cover, 28 August 1915
-
Potash and Perlmutter, 10 July 1915
-
The Man Who Stayed at Home, 5 June 1915
-
The Importance of Being Earnest, 4 June 1915
-
Matinee in aid of the Benevolent Fund for the Actors Association, 28 May 1915
-
Matinee in aid of British and Australian Red Cross Funds, 16 May 1915
-
Broadway Jones, 24 April 1915
-
Seven Keys to Baldpate, 13 March 1915
-
The Seven Keys to Baldpate, 13 March 1915
-
Bridge afternoon and Cafe Chantant in aid of the Belgium Relief Fund, 11 March 1915
-
Bought and Paid For, 26 December 1914
-
The Chorus Lady, 12 December 1914
-
The Yellow Ticket, 21 November 1914
-
Within the Law, 31 October 1914
-
The Argyle Case, 17 October 1914
-
The Silver King, 3 October 1914
-
The Sign of the Cross, 19 September 1914
-
Monsieur Beaucaire, 12 September 1914
-
The Scarlett Pimpernel, 5 September 1914
-
The Scarlet Pimpernel, 5 September 1914
-
A Royal Divorce, 1 August 1914
-
An Enemy of the People, 27 June 1914
-
Officer 666, 27 June 1914
-
Fanny's First Play, 20 June 1914
-
Never Say Die, 16 May 1914
-
Dorothy, 9 May 1914
-
Madame X, 28 March 1914
-
Rutherford & Son, 26 March 1914
-
The Doctor's Dilemma, 24 March 1914
-
Joseph and His Brethren, 14 February 1914
-
The Lion and the Mouse, 7 February 1914
-
Milestones, 31 January 1914
-
Man and Superman, 29 January 1914
-
Diplomacy, 10 January 1914
-
Monsieur Beaucaire, 27 December 1913
-
Miss Elizabeth's Prisoner / The Great Game, 13 December 1913
-
A Butterfly on the Wheel , 25 October 1913
-
A Marriage of Convenience, 25 October 1913
-
Excuse me!, 11 October 1913
-
The Fortune Hunter, 16 August 1913
-
Farewell Matinee Benefit to Frances Ross, 21 July 1913
-
Within the Law, 17 May 1913
-
Man and Superman, 3 May 1913
-
Matinee in aid of the Captain Scott Memorial Fund, 28 March 1913
-
Milestones, 22 March 1913
-
Othello, 14 March 1913
-
The Merchant of Venice, 11 March 1913
-
A Midsummer Night's Dream, 8 February 1913
-
The Taming of the Shrew, 1 February 1913
-
Antony and Cleopatra, 26 December 1912
-
Antony and Cleopatra (1), 26 December 1912
-
Get Rich Quick Wallingford, 20 November 1912
-
Raffles, 1 November 1912
-
The Whip, 19 October 1912
-
Ben Hur, 31 August 1912
-
VENUE DARK, 10 August 1912
-
You Never Can Tell, 27 July 1912
-
The Blue Bird, 22 June 1912
-
The Virgin Godess, 15 June 1912
-
The Virgin Goddess, 15 June 1912
-
Othello, 1 June 1912
-
Kismet, 6 April 1912
-
The House of Temperley, 3 March 1912
-
Alias Jimmy Valentine, 24 February 1912
-
The Chocolate Soldier, 17 February 1912
-
Passers By, 27 January 1912
-
Oscar Asche and Lily Brayton - for copying, 1912
-
Every Woman, 18 December 1911
-
Dame Nature, 18 November 1911
-
Lady Frederick, 4 November 1911
-
The Lyons Mail, 28 October 1911
-
The Chocolate Soldier, 30 September 1911
-
Lucky Durham, 11 March 1911
-
The Gay Grisette, 4 February 1911
-
The Gay Gordons, 21 December 1910
-
Tom Jones, 1 October 1910
-
The Arcadians, 26 March 1910
-
Count Hannibal, 15 January 1910
-
The Belle of Mayfair, 20 November 1909
-
The Girl Behind the Counter, 17 April 1909
-
Cinderella, 19 December 1908
-
The Belle of Mayfair, 20 June 1908
-
Miss Hook of Holland, 18 April 1908
-
The Great Rescue, 5 October 1907
-
The White Heather, 28 April 1907
-
Revenge, 30 March 1907
-
East Lynne, 23 March 1907
-
The Squatter's Daughter or, The Land of the Wattle, 9 February 1907
-
The Fatal Wedding, 17 March 1906
-
The Fatal Wedding Tour, 17 March 1906
-
The Prodigal Son, 17 February 1906
-
With Flying Colours, 25 November 1905
-
The Best of Friends, 22 April 1905
-
Sinbad the Sailor or the Fairy of the Diamond Valley, 26 December 1904
-
Flood Tide, 5 March 1904
-
A Desperate Game, 26 December 1903
-
The Great Millionaire, 2 November 1903
-
Going the Pace, 25 July 1903
-
The Breaking of the Drought, 8 June 1903
-
The Price of Peace, 9 May 1903
-
The Prodigal Daughter, 12 April 1903
-
Zoe the white arab, 1902
-
The War of Wealth, 9 December 1901
-
In London Town, 11 June 1901
-
Women and Wine, 11 May 1901
-
The Great Ruby, February 1901
-
With Flying Colours, 22 December 1900
-
The Absent Minded Beggar, November 1900
-
The Power and the Glory, 18 November 1899
-
The War of Wealth, 29 July 1899
-
Dick Whittington and His Cat or Harlequin the Demon Rat and the Good Fairies of the Bells, 27 December 1897
-
The Cotton King, 10 July 1897
-
A Life of Pleasure, 5 June 1897
-
In Sight of St. Pauls, 17 April 1897
-
Riding to Win, 13 February 1897
-
For England, 26 December 1896
-
The Derby Winner, 13 February 1896
-
Santa Claus, the House that Jack Built and the Historical Giant Killer, 26 December 1895
-
The Fatal Card, 2 March 1895
-
Aladdin and the Wonderful Lamp, 26 December 1894
-
The Bush King, 29 September 1894
-
The Crimson Thread, 11 August 1894
-
Sinbad the Sailor, Little Jack Horner and the Old Man of the Sea, 26 December 1893
-
The Queen's Lace Handkerchief, 12 August 1893
-
The Double Event or, A Tale of the Melbourne Cup, 1 April 1893
-
Rip Van Winkle, 15 February 1893
-
Babes in the Woods or Bold Robin Hood and his Foresters Good, 24 December 1892
-
The Trumpet Call, 2 July 1892
-
A Sailor`s Knot, 21 May 1892
-
Dick Whittington and His Cat or Harlequin the Demon Rat and the Good Fairies of the Bells, 26 December 1891
-
Aladdin, being an Old Version of a New Lamp , 26 December 1890
-
As In A Looking Glass, 19 April 1890
-
Riding to Win, 1890
-
Cinderella, Gold and Silver and the Little Glass Slipper, 26 December 1889
-
The Pointsman, 4 November 1889
-
The Merchant of Venice, 29 October 1889
-
Led Astray, 28 October 1889
-
The Merchant of Venice, 19 October 1889
-
The Golden Ladder, 23 March 1889
-
Union Jack, 16 March 1889
-
Sinbad the Sailor or, Tinbad the Tailor and the Wicked Ogre and the Good Fairy Submarine, 26 December 1888
-
It's Never Too Late to Mend, 8 December 1888
-
Hands Across the Sea, 29 September 1888
-
The Old Corporal, 22 September 1888
-
Mr Barnes of New York, 1 September 1888
-
The Tomboy, 25 August 1888
-
Little Nell and the Marchioness, 11 August 1888
-
Jack and I, 28 July 1888
-
Uncle Tom's Cabin, 7 July 1888
-
The Miner's Daughter, 23 June 1888
-
The Tomboy, 2 June 1888
-
Taken From Life, 26 May 1888
-
Alone in London, 12 May 1888
-
Mankind; or Beggar Your Neighbour, 28 April 1888
-
The New Babylon, 31 March 1888
-
The Road to Ruin, 17 March 1888
-
Drink, 18 February 1888
-
Sentenced to Death, 11 February 1888
-
Jack the Giant Killer and Little Bo Peep or, Harlequin King Arthur and the Enchanted Sheep, 24 December 1887
-
First Class, 3 December 1887
-
The Sunny South, 19 November 1887
-
La Gioconda, 5 November 1887
-
The Capulets and Montagues, 25 October 1887
-
Grand Complimentary Benefit for Mr George Darrell, 23 August 1887
-
Struck Oil, 22 August 1887
-
Eureka, 13 August 1887
-
Rip Van Winkle, 6 August 1887
-
The Streets of London, 23 July 1887
-
Shadows of a Great City and The Chinese Question, 16 July 1887
-
Struck Oil, 25 June 1887
-
The World, 11 June 1887
-
Alone in London, 14 May 1887
-
A Run of Luck, 15 April 1887
-
Called Back, 26 March 1887
-
The Tempest, 26 February 1887
-
Siberia, 5 February 1887
-
Robinson Crusoe, 26 December 1886
-
The Tomboy, 4 December 1886
-
Human Nature, 23 October 1886
-
The Mikado, or The Town of Titipu, 20 February 1886
-
Sleeping Beauty or, Harlequin Mother Goose and the Seven Champions of Christendom, 26 December 1885
-
Saints and Sinners, 7 December 1885
-
La Petite Mademoiselle, 4 April 1885
-
Cinderella, her Sisters, her Sorrows, and her Little Glass Slipper or, the Fairy Godmother who wouldn't let the Bad, 24 December 1884
-
Aladdin or Harlequin, the Wonderful Ring, the Magical Lamp and the Pretty Young Maiden who Loved a Great Scamp ..., 26 December 1883
-
Pluck, or A Story of £50,000, 7 September 1883
-
Jack and the Beanstalk and See-Saw, Margery Daw or, Harlequin Man in the Moon, The Love Birds of Fairyland, 26 December 1882
-
Iolanthe or, The Peer and the Peri, 25 November 1882
-
Russia As It Is, 6 May 1882
-
Youth, 28 April 1882
-
Whittington and His Cat, 24 December 1881
-
The World, 1 October 1881
-
Led Astray, 2 July 1881
-
East Lynne, 2 July 1881
-
The Lady of Lyons, 2 July 1881
-
Sinbad the Sailor; or The Pet of the Pearl; The Old Man of the Sea; and the Dwarf of the Diamond Valley, 27 December 1880
-
Drink, 22 May 1880
-
For Life or, The Foster Brothers, 1 May 1880
-
Only a Fool, 12 February 1880
-
Babes in the Woods, 7 February 1880
-
The Babes in the Wood, 26 December 1879
-
The Moonstone, 13 October 1879
-
The Life and Death of King Richard III, 12 August 1879
-
Catching the Kellys, 29 March 1879
-
Class, 17 June 1878
-
Loreda, 4 May 1878
-
The Merry Wives of Windsor, 6 October 1877
-
Aida, 6 September 1877
-
Helen's Babies, 20 July 1877
-
All for Gold, or Fifty Millions of Money, 6 June 1877
-
Romeo and Juliet, 10 August 1876
-
The Shaughraun, 29 May 1875
-
Led Astray, 27 April 1875
-
Humpty Dumpty, Who Sat on a Wall or Harlequin King Arthur, 28 December 1874
-
Our American Cousin, 27 November 1874
-
The Chinese Question, 27 November 1874
-
Struck Oil, 1 August 1874
-
Eugene Aram, 29 July 1874
-
Oliver Twist, 11 May 1874
-
The Irish Tiger / The New Magdalen, 7 March 1874
-
Twinkle, Twinkle, Little Star or Harlequin Jack Frost and the Old Woman who Lived in a Shoe, 2 January 1874
-
Faust and Marguerite, 20 September 1873
-
Riquet with the Tuft; or, Harequin Old Mother Shipton, The Silver Champions and Darwin's Genealogical Tree, 26 December 1872
-
Society, followed by an after-piece, 14 December 1872
-
Quite Alone, 7 November 1872
-
Opening Night, 6 November 1872
-
VENUE DESTROYED BY FIRE, 20 March 1872
-
Jack and The Beanstalk or Harlequin Nursery Rhymes and the Pranks of the Good Little People , 26 December 1871
-
Colonial Experience, 17 November 1871
-
Peacock's Feathers, 23 September 1871
-
Ixion or, The Man at the Wheel, 9 September 1871
-
A Supper Gratis or, An Impudent Intruder, 15 July 1871
-
Elfie, or the Cherry Tree Inn, 1 July 1871
-
The Octoroon / Old Gooseberry, 24 June 1871
-
Papillionetta or, The Prince's Little Feat and the Big Beatle Crusher, 10 April 1871
-
Goody Two Shoes and Little Boy Blue, 26 December 1870
-
Sun and Shadow or, Mark Stornway's Nephew, 1 October 1870
-
Ione, 1 August 1870
-
Milky White / Ode on Odd Fellowship / The House that Jack Built / New Tricks, 25 January 1870
-
The house that Jack Built or, Harlequin Progress and the Loves, Laughs, laments and Labours of Jack Melbourne and Little Victoria, 27 December 1869
-
Catching a Conspirator, 28 August 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 7 August 1869
-
The Battle of Hastings, or The Duke, the Earl, the Witch, the Why, and the Wherefore, 29 March 1869
-
Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, 25 March 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 6 March 1869
-
After Dark, a Tale of London Life, 20 February 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 1 February 1869
-
Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, 24 December 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 12 December 1868
-
Catching a Conspirator, 28 November 1868
-
Christine Johnstone, the Snowdrop of the North, 21 November 1868
-
The Siege of Troy, 2 November 1868
-
King Arthur or, Launcelot the Loose, Gin-ever the Square, and the Knights of the Round Table and Other Furniture, 31 October 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 18 August 1868
-
Leah the Forsaken / The Bonnie Fishwife, 3 August 1868
-
Hamlet, 22 July 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 25 May 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 11 April 1868
-
Tom Tom the Piper's Son and Mary Mary Quite Contrary, 26 December 1867
-
William Tell, 9 December 1867
-
An Actor Out of Luck, 29 October 1867
-
Catching a Conspiritor, 17 October 1867
-
Antony and Cleopatra, 8 October 1867
-
Catching a Conspirator, 30 September 1867
-
Catching a Conspirator, 16 September 1867
-
Catching a Conspirator, 19 June 1867
-
Faust D.D.D or, The Demon the Doctor and the Damsel, 8 June 1867
-
Francesca Vasari, a Tragedy, 17 April 1867
-
The Flying Scud or, A Four-legged Fortune, 16 March 1867
-
The Mariner's Compass or, Duty, 28 January 1867
-
Gulliver on his travels or, Harlequin and Father Christmas and the fairy queen of the silver acacias, 26 December 1866
-
A Day at the Intercolonial Exhibition or A Shilling Day at the Intercolonial Exhabition, 24 November 1866
-
Roberto Il Diavolo, 9 November 1866
-
Ivanhoe, or The Trial by Battle! / My heart's in the Highlands, 30 August 1866
-
Twelfth Night, 6 April 1866
-
Semiramide, 22 January 1866
-
The Gladiator of Ravenna, 1 July 1865
-
Tiffins the Imperishable, 17 June 1865
-
Turtle Soup, 1 May 1865
-
Maritana, 20 March 1865
-
The Enchanted Island or Harlequin the Mysyterious Prince and the Magician Father, 24 December 1864
-
Ali Baba, or The Thirty-Nine Thieves, 3 September 1864
-
A Night at Emerald Hill, 30 July 1864
-
A Night at Emerald Hill, 24 October 1863
-
A Night at Emerald Hill, 12 June 1863
-
Amilie or, The Love Test, 20 January 1863
-
Harlequin Arabian Nights or, The Fast Young Turk and The Pretty Russian, 26 December 1862
-
Les Huguenots, 15 November 1862
-
Satanella or, The Power of Love, 28 April 1862
-
Harlequin Valentine and Orson or, The Task of Romance and The TRicks of the Spirit of Fun, 26 December 1861
-
Don Juan or, The Rake Punished, 21 October 1861
-
The Gentleman In Black, 19 August 1861
-
The Gentleman In Black, 24 July 1861
-
The Crown of Diamonds, 12 April 1861
-
Lurline, 1 April 1861
-
Little Jack Horner the Original Hero of the Corner or, The Fairy Cooks of Our Christmas Pie, 26 December 1860
-
The Rivals [and] A Musical Melange [and] Valet de Sham, 31 October 1860
-
Pluto and Proserpine or, The Triumphs of Ceres, 24 October 1860
-
Measure for Measure, 22 October 1860
-
A Broil at the Cafe, 22 September 1860
-
Rigoletto, 15 September 1860
-
Nino, 13 September 1860
-
Attila, 17 August 1860
-
The Honeymoon / Grimshaw, Bagshaw, and Bradshaw, 7 August 1860
-
A Spec in China, 24 July 1860
-
The Death of Marlowe, 12 July 1860
-
The Talisman or, Emigration of Old, 21 June 1860
-
Love's Labour's Lost, 9 April 1860
-
The Nymph of the Lurleyburg , 5 April 1860
-
Harlequin Prince Humpy Dumpy or, The Magic Eagle and The Golden Branch, 26 December 1859
-
Luisa Miller, 23 November 1859
-
Richard lll Performance by the Melbourne Garrick Club... Thursday 29th September [1859], 29 September 1859
-
The Two Bonnycastles: a performance by the Melbourne Garrick Club at the Theatre Royal, Melbourne on 29th September 1859, 29 September 1859
-
Did You Ever Send Your Wife to St Kilda?, 28 May 1859
-
The Yellow Dwarf or The King Of the Golden Mines, 25 April 1859
-
La Traviata, 13 April 1859
-
Harlequin Robin Hood or, The Bold Huntsman of Sherwood and the Fairy Locallotta, 27 December 1858
-
A Walk For A Wager, 11 December 1858
-
Port Curtis Mad, 18 October 1858
-
Jeanette's Wedding, 11 October 1858
-
Coppin in Cairo; A Romance Of The Mail Service, 24 May 1858
-
The Conquest of Delhi, 1 February 1858
-
Rolla of Ours or, The Shameful Goings-on of the Spaniards in Peru , 19 January 1858
-
Harlequin Whittington and His Cat, 26 December 1857
-
The Melbourne Races, 23 December 1857
-
Sardanapalus, 19 October 1857
-
The Fall of Sebastopol or, The Campaigners, 17 August 1857
-
The Melbourne Fireman, 24 June 1857
-
Young Australia, 9 June 1857
-
The Melbourne Hunt or, A Club Night at Cheltenham, 28 May 1857
-
Pong Wong The Mandarin, 24 February 1857
-
Coppin's Adventures with a Polish Princess, 31 January 1857
-
Dred or, A tale of the Great Dismal Swamp , 24 January 1857
-
Romance and Reality or The Digger in London, 17 January 1857
-
Multiplication is Vexation, Division is as Bad or, Harlequin Rule of Three and The Genius of the Crystal lake of Learning, 26 December 1856
-
Wanted 1000 Young Milliners for The Gold Diggings, 14 November 1856
-
What a Man May Suffer in Victoria, 31 October 1856
-
The Vice-regal Visit or, A Sensationat The Pivot, 28 October 1856
-
Gumtree's Ball and Soiree, 24 October 1856
-
Wanted 1000 Young Milliners for The Gold Diggings, 1 September 1856
-
Oysters at St Kilda, 23 August 1856
-
L'Elisir d'Amore, 26 July 1856
-
The War in The Crimea, 2 July 1856
-
Martha or, Richmond Market, 24 June 1856
-
Two Gentlemen of Verona, 6 June 1856
-
The Magician's Daughter or, Harlequin King of the Golden Island and the Fairy Rifle Corps, 26 December 1855
-
Guy Mannering, 17 December 1855
-
Lucrezia Borgia, 7 December 1855
-
The Mirror of Beauty or, Little Snow White and the Seven Dwarfs, 5 October 1855
-
Ingomar, the Barbarian, October 1855
-
The School for Scandal / National Spanich Dance / An Actress of All Work, 16 July 1855
-
The Widow's Victim / The Lottery Ticket, 21 February 1841
|
|
-
The Maid of the Mountains, 4 November 1933
-
Music in the Air, 16 September 1933
-
The Quaker Girl, 22 July 1933
-
Hold My Hand, 17 June 1933
-
Our Miss Gibbs, 15 April 1933
-
The Command to Love, 25 March 1933
-
Waltzes from Vienna, 24 December 1932
-
The Mikado, 16 December 1932
-
The Yeomen of the Guard, 15 December 1932
-
Iolanthe, 14 December 1932
-
The Gondoliers, 13 December 1932
-
Princess Ida, 10 December 1932
-
Dorothy, 3 December 1932
-
Lilac Time, 12 November 1932
-
The Gondoliers, 10 November 1932
-
H.M.S. Pinafore / Cox and Box, 5 November 1932
-
The Mikado, 29 October 1932
-
Patience, 27 October 1932
-
The Pirates of Penzance / Trial by Jury, 22 October 1932
-
The Yeomen of the Guard, 15 October 1932
-
Iolanthe, 8 October 1932
-
Ruddigore, 1 October 1932
-
The Gondoliers, 26 September 1932
-
Tosca, 14 September 1932
-
Tales of Hoffman, 6 September 1932
-
La Traviata, 27 August 1932
-
Don Pasquale, 23 August 1932
-
Cavalleria Rusticana / I Pagliacci, 18 August 1932
-
Andrea Chenier, 10 August 1932
-
Faust, 6 August 1932
-
Il Trovatore, 2 August 1932
-
Barber of Seville, 27 July 1932
-
Carmen, 23 July 1932
-
Un Ballo in Maschera, 19 July 1932
-
Madam Butterfly, 14 July 1932
-
Rigoletto, 12 July 1932
-
La Boheme, 7 July 1932
-
Lucia, 5 July 1932
-
Aida, 2 July 1932
-
Blue Roses, 13 May 1932
-
Bitter Sweet, 26 March 1932
-
The Chocolate Soldier, 20 February 1932
-
Sinbad the Sailor, 26 December 1931
-
The Maid of the Mountains, 5 December 1931
-
Oh Lady, Lady, 21 November 1931
-
The Merry Widow, 7 November 1931
-
Florodora, 10 October 1931
-
Dearest Enemy, 12 September 1931
-
The Duchess of Dantzic, 22 August 1931
-
Tosca, 5 August 1931
-
Faust, 4 August 1931
-
Carmen, 1 August 1931
-
Patience, 25 July 1931
-
H.M.S. Pinafore / Cox and Box, 11 July 1931
-
The Yeomen of the Guard, 27 June 1931
-
The Mikado, 30 May 1931
-
Iolanthe, 16 May 1931
-
The Pirates of Penzance / Trial by Jury, 2 May 1931
-
The Gondoliers, 11 April 1931
-
Sons o' Guns, 31 January 1931
-
The House That Jack Built, 20 December 1930
-
The Cingalee, 15 November 1930
-
Mr. Cinders, 11 October 1930
-
Lilac Time, 6 September 1930
-
The New Moon, 19 July 1930
-
A Country Girl, 5 July 1930
-
The Belle of New York, 31 May 1930
-
Katinka, 19 May 1930
-
The Merry Widow, 26 April 1930
-
The Maid of the Mountains, 14 March 1930
-
Follow Through, 8 February 1930
-
Turned Up, 26 December 1929
-
Hold Everything, 2 November 1929
-
Brewster's Millions, 26 October 1929
-
Journey's End, 10 August 1929
-
Dracula, 20 July 1929
-
Sir Harry Lauder, 29 June 1929
-
The Five-O'Clock Girl, 18 May 1929
-
This Year of Grace, 30 March 1929
-
Victory, 26 January 1929
-
Other Men's Wives , 22 December 1928
-
Interference, 24 November 1928
-
The Terror, 21 November 1928
-
The Ringer, 17 November 1928
-
The Silent House, 22 September 1928
-
The Girl Friend, 28 April 1928
-
The Trial of Mary Dugan, 31 March 1928
-
The Terror, 28 January 1928
-
Queen High, 24 December 1927
-
Frasquita, 9 July 1927
-
Wildflower, 27 November 1926
-
Brown Sugar, 30 October 1926
-
Is Zat So?, 16 October 1926
-
Katja, 18 September 1926
-
White Cargo, 14 August 1926
-
Give and Take, 31 July 1926
-
Tell Me More, 17 July 1926
-
Leave it to Jane, 5 June 1926
-
The Bad Man, 24 April 1926
-
Lilac Time, 9 January 1926
-
The Merry Widow, 2 January 1926
-
Lightnin', 29 November 1924
-
Kissing Time, 24 May 1924
-
Madame X, 24 May 1924
-
The Cabaret Girl, 25 March 1924
-
Sally, 15 September 1923
-
The Yeomen of the Guard, 1 August 1922
-
In the Shadow of the Glen / The Building Fund / The Workhouse Ward, 24 July 1922
-
The Bat, 6 May 1922
-
Paddy The Next Best Thing, 25 February 1922
-
A Night Out, 21 January 1922
-
The Laughter of Fools, 7 January 1922
-
The Yeomen of the Guard, 5 January 1922
-
Merrie England, 22 December 1921
-
The Sign on the Door, 5 November 1921
-
Firefly, 29 October 1921
-
Wedding Bells, 15 October 1921
-
His Lady Friends, 10 September 1921
-
Nightie Night, 30 July 1921
-
The Lilac Domino, 16 July 1921
-
Katinka, 2 July 1921
-
The Maid of the Mountains, 22 January 1921
-
The Boy, 23 October 1920
-
Kissing Time, 9 October 1920
-
Mrs Dot, 2 October 1920
-
The Marriage of Kitty, 25 September 1920
-
Penelope, 18 September 1920
-
The Duke of Killiecrankie, 11 September 1920
-
Outcast, 4 September 1920
-
The Girl in the Taxi, 21 August 1920
-
Yes, Uncle!, 12 June 1920
-
Going Up, 28 May 1920
-
Film Screening [The Truant Soul], 2 April 1920
-
Tilly of Bloomsbury, 20 March 1920
-
The Silent Witness, 13 March 1920
-
Kissing Time, 31 January 1920
-
Theodore & Co, 29 November 1919
-
Lightnin', 15 August 1919
-
Nothing But The Truth, 9 August 1919
-
A Tailor-Made Man, 5 July 1919
-
Bought and Paid For, 28 June 1919
-
The Silent Witness, 31 May 1919
-
Common Clay, 10 May 1919
-
Good Friday Night - Annual Festival of Sacred Music, 18 April 1919
-
Three Faces East / The Monkey's Paw, 13 April 1919
-
Madame X, 5 April 1919
-
The Great Divide, 8 March 1919
-
Nothing But The Truth, 26 December 1918
-
Film Screening [Hearts of the World], 30 November 1918
-
Potash and Perlmutter, 23 November 1918
-
The High Cost of Loving, 9 November 1918
-
Oh Boy, 5 October 1918
-
Oh, Boy, 14 September 1918
-
The Thirteenth Chair, 17 August 1918
-
The Man Who Came Back, 29 June 1918
-
Daddy Long Legs, 18 May 1918
-
Outcast, 11 May 1918
-
The Willow Tree, 27 April 1918
-
The Rainbow, 13 April 1918
-
The Cinderella Man, 30 March 1918
-
Good Friday Night - Concert of Sacred Music, 29 March 1918
-
Matinee in aid of the State War Councils Appeal, 12 March 1918
-
Within the Law, 9 March 1918
-
The Easiest Way, 2 February 1918
-
The Bird of Paradise, 22 December 1917
-
Mrs Dot, 1 December 1917
-
A Pair of Silk Stockings, 17 November 1917
-
Mary Goes First, 10 November 1917
-
Good Gracious, Annabelle, 27 October 1917
-
L'Aiglon, 6 October 1917
-
Outcast, 8 September 1917
-
Daddy Long Legs, 28 July 1917
-
Grumpy, 16 June 1917
-
A Little Bit of Fluff, 2 June 1917
-
Matinee benefit in aid of the widow of Tom Dawson, 22 May 1917
-
London Pride, 19 May 1917
-
Penelope, 5 May 1917
-
The Marriage of Kitty, 7 April 1917
-
Good Friday Night Concert of Sacred Songs, 6 April 1917
-
Fair and Warmer, 17 March 1917
-
film screenings [Intolerance], 24 February 1917
-
The Misleading Lady, 10 February 1917
-
The Woman, 6 January 1917
-
A Royal Divorce, 28 October 1916
-
Under Fire, 21 October 1916
-
Get Rich Quick Wallingford, 14 October 1916
-
A Full House, 30 September 1916
-
It Pays to Advertise, 23 September 1916
-
Too Many Cooks , 16 September 1916
-
The Land of Promise, 26 August 1916
-
The Story of the Rosary, 5 August 1916
-
Romance, 8 July 1916
-
Madame X, 5 July 1916
-
On Trial, 3 June 1916
-
Film Screening [Birth of a Nation], 20 May 1916
-
Get Rich Quick Wallingford, 6 May 1916
-
The Boomerang, 22 April 1916
-
Twin Beds, 25 March 1916
-
It Pays to Advertise, 29 January 1916
-
Under Fire, 1 January 1916
-
The Man Who Stayed at Home, 26 December 1915
-
Festival of Sacred Songs, 25 December 1915
-
Kick In, 11 December 1915
-
Stop Thief, 4 December 1915
-
A Pair of Sixes, 13 November 1915
-
Madame X, 6 November 1915
-
Bought and Paid For, 30 October 1915
-
Within the Law, 23 October 1915
-
Nobody's Widow, 9 October 1915
-
Under Cover, 28 August 1915
-
Potash and Perlmutter, 10 July 1915
-
The Man Who Stayed at Home, 5 June 1915
-
The Importance of Being Earnest, 4 June 1915
-
Matinee in aid of the Benevolent Fund for the Actors Association, 28 May 1915
-
Matinee in aid of British and Australian Red Cross Funds, 16 May 1915
-
Broadway Jones, 24 April 1915
-
Seven Keys to Baldpate, 13 March 1915
-
The Seven Keys to Baldpate, 13 March 1915
-
Bridge afternoon and Cafe Chantant in aid of the Belgium Relief Fund, 11 March 1915
-
Bought and Paid For, 26 December 1914
-
The Chorus Lady, 12 December 1914
-
The Yellow Ticket, 21 November 1914
-
Within the Law, 31 October 1914
-
The Argyle Case, 17 October 1914
-
The Silver King, 3 October 1914
-
The Sign of the Cross, 19 September 1914
-
Monsieur Beaucaire, 12 September 1914
-
The Scarlett Pimpernel, 5 September 1914
-
The Scarlet Pimpernel, 5 September 1914
-
A Royal Divorce, 1 August 1914
-
Officer 666, 27 June 1914
-
Never Say Die, 16 May 1914
-
Dorothy, 9 May 1914
-
Madame X, 28 March 1914
-
The Doctor's Dilemma, 24 March 1914
-
Joseph and His Brethren, 14 February 1914
-
The Lion and the Mouse, 7 February 1914
-
Milestones, 31 January 1914
-
Man and Superman, 29 January 1914
-
Diplomacy, 10 January 1914
-
Monsieur Beaucaire, 27 December 1913
-
Miss Elizabeth's Prisoner / The Great Game, 13 December 1913
-
A Butterfly on the Wheel , 25 October 1913
-
A Marriage of Convenience, 25 October 1913
-
Excuse me!, 11 October 1913
-
The Fortune Hunter, 16 August 1913
-
Within the Law, 17 May 1913
-
Man and Superman, 3 May 1913
-
Matinee in aid of the Captain Scott Memorial Fund, 28 March 1913
-
Milestones, 22 March 1913
-
Othello, 14 March 1913
-
The Merchant of Venice, 11 March 1913
-
A Midsummer Night's Dream, 8 February 1913
-
The Taming of the Shrew, 1 February 1913
-
Antony and Cleopatra, 26 December 1912
-
Antony and Cleopatra (1), 26 December 1912
-
Get Rich Quick Wallingford, 20 November 1912
-
The Whip, 19 October 1912
-
Ben Hur, 31 August 1912
-
You Never Can Tell, 27 July 1912
-
The Blue Bird, 22 June 1912
-
The Virgin Godess, 15 June 1912
-
The Virgin Goddess, 15 June 1912
-
Othello, 1 June 1912
-
Kismet, 6 April 1912
-
The House of Temperley, 3 March 1912
-
Alias Jimmy Valentine, 24 February 1912
-
The Chocolate Soldier, 17 February 1912
-
Passers By, 27 January 1912
-
Oscar Asche and Lily Brayton - for copying, 1912
-
Every Woman, 18 December 1911
-
The Lyons Mail, 28 October 1911
-
The Chocolate Soldier, 30 September 1911
-
Cinderella, Gold and Silver and the Little Glass Slipper, 26 December 1889
-
The Pointsman, 4 November 1889
-
The Merchant of Venice, 29 October 1889
-
Led Astray, 28 October 1889
-
The Merchant of Venice, 19 October 1889
-
Sinbad the Sailor or, Tinbad the Tailor and the Wicked Ogre and the Good Fairy Submarine, 26 December 1888
-
It's Never Too Late to Mend, 8 December 1888
-
Hands Across the Sea, 29 September 1888
-
The Old Corporal, 22 September 1888
-
Mr Barnes of New York, 1 September 1888
-
The Tomboy, 25 August 1888
-
Little Nell and the Marchioness, 11 August 1888
-
Jack and I, 28 July 1888
-
The Tomboy, 2 June 1888
-
The Road to Ruin, 17 March 1888
-
Drink, 18 February 1888
-
Jack the Giant Killer and Little Bo Peep or, Harlequin King Arthur and the Enchanted Sheep, 24 December 1887
-
Grand Complimentary Benefit for Mr George Darrell, 23 August 1887
-
Struck Oil, 22 August 1887
-
Eureka, 13 August 1887
-
Rip Van Winkle, 6 August 1887
-
The Streets of London, 23 July 1887
-
Shadows of a Great City and The Chinese Question, 16 July 1887
-
Struck Oil, 25 June 1887
-
The World, 11 June 1887
-
Called Back, 26 March 1887
-
The Tempest, 26 February 1887
-
Siberia, 5 February 1887
-
Robinson Crusoe, 26 December 1886
-
The Tomboy, 4 December 1886
-
Human Nature, 23 October 1886
-
Sleeping Beauty or, Harlequin Mother Goose and the Seven Champions of Christendom, 26 December 1885
-
Cinderella, her Sisters, her Sorrows, and her Little Glass Slipper or, the Fairy Godmother who wouldn't let the Bad, 24 December 1884
-
Aladdin or Harlequin, the Wonderful Ring, the Magical Lamp and the Pretty Young Maiden who Loved a Great Scamp ..., 26 December 1883
-
Jack and the Beanstalk and See-Saw, Margery Daw or, Harlequin Man in the Moon, The Love Birds of Fairyland, 26 December 1882
-
The Great Rescue, 5 October 1907
-
The White Heather, 28 April 1907
-
The Prodigal Son, 17 February 1906
-
With Flying Colours, 25 November 1905
-
Flood Tide, 5 March 1904
-
A Desperate Game, 26 December 1903
-
The Great Millionaire, 2 November 1903
-
The Great Ruby, February 1901
-
With Flying Colours, 22 December 1900
-
The Cotton King, 10 July 1897
-
In Sight of St. Pauls, 17 April 1897
-
The Derby Winner, 13 February 1896
-
The Fatal Card, 2 March 1895
-
Union Jack, 16 March 1889
-
Taken From Life, 26 May 1888
-
Alone in London, 12 May 1888
-
Mankind; or Beggar Your Neighbour, 28 April 1888
-
The New Babylon, 31 March 1888
-
The World, 11 June 1887
-
Alone in London, 14 May 1887
-
A Run of Luck, 15 April 1887
-
Babes in the Woods, 7 February 1880
-
Only a Fool, 12 February 1880
-
The Irish Tiger / The New Magdalen, 7 March 1874
-
Society, followed by an after-piece, 14 December 1872
-
Jack and The Beanstalk or Harlequin Nursery Rhymes and the Pranks of the Good Little People , 26 December 1871
-
A Supper Gratis or, An Impudent Intruder, 15 July 1871
-
Goody Two Shoes and Little Boy Blue, 26 December 1870
-
Sun and Shadow or, Mark Stornway's Nephew, 1 October 1870
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 7 August 1869
-
Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, 25 March 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 6 March 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 1 February 1869
-
Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, 24 December 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 12 December 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 18 August 1868
-
Leah the Forsaken / The Bonnie Fishwife, 3 August 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 25 May 1868
-
Tosca, 14 September 1932
-
Tales of Hoffman, 6 September 1932
-
La Traviata, 27 August 1932
-
Don Pasquale, 23 August 1932
-
Cavalleria Rusticana / I Pagliacci, 18 August 1932
-
Andrea Chenier, 10 August 1932
-
Faust, 6 August 1932
-
Il Trovatore, 2 August 1932
-
Barber of Seville, 27 July 1932
-
Carmen, 23 July 1932
-
Un Ballo in Maschera, 19 July 1932
-
Madam Butterfly, 14 July 1932
-
Rigoletto, 12 July 1932
-
La Boheme, 7 July 1932
-
Lucia, 5 July 1932
-
Aida, 2 July 1932
-
The Gondoliers, 10 November 1932
-
H.M.S. Pinafore / Cox and Box, 5 November 1932
-
The Mikado, 29 October 1932
-
Patience, 27 October 1932
-
The Pirates of Penzance / Trial by Jury, 22 October 1932
-
The Yeomen of the Guard, 15 October 1932
-
Iolanthe, 8 October 1932
-
Ruddigore, 1 October 1932
-
The Gondoliers, 26 September 1932
-
The Yeomen of the Guard, 27 June 1931
-
The Mikado, 30 May 1931
-
Iolanthe, 16 May 1931
-
The Pirates of Penzance / Trial by Jury, 2 May 1931
-
Officer 666, 27 June 1914
-
Get Rich Quick Wallingford, 14 October 1916
-
Get Rich Quick Wallingford, 6 May 1916
-
Broadway Jones, 24 April 1915
-
Seven Keys to Baldpate, 13 March 1915
-
The Chorus Lady, 12 December 1914
-
The Yellow Ticket, 21 November 1914
-
Officer 666, 27 June 1914
-
Never Say Die, 16 May 1914
-
Excuse me!, 11 October 1913
-
The Fortune Hunter, 16 August 1913
-
Get Rich Quick Wallingford, 20 November 1912
-
Tell Me More, 17 July 1926
-
Leave it to Jane, 5 June 1926
-
Kissing Time, 24 May 1924
-
The Bat, 6 May 1922
-
A Night Out, 21 January 1922
-
The Girl in the Taxi, 21 August 1920
-
Yes, Uncle!, 12 June 1920
-
Yes Uncle, 12 June 1920
-
Going Up, 28 May 1920
-
Oh Boy, 5 October 1918
-
Oh, Boy, 14 September 1918
-
Lilac Time, 6 September 1930
-
Lilac Time, 9 January 1926
-
Merrie England, 22 December 1921
-
Firefly, 29 October 1921
-
Katinka, 2 July 1921
-
The Maid of the Mountains, 22 January 1921
-
The Boy, 23 October 1920
-
Kissing Time, 9 October 1920
-
Kissing Time, 31 January 1920
-
Theodore & Co, 29 November 1919
-
Cinderella, Gold and Silver and the Little Glass Slipper, 26 December 1889
-
The Silver King, 3 October 1914
-
The Sign of the Cross, 19 September 1914
-
Monsieur Beaucaire, 12 September 1914
-
The Scarlett Pimpernel, 5 September 1914
-
A Royal Divorce, 1 August 1914
-
Milestones, 31 January 1914
-
Man and Superman, 29 January 1914
-
Diplomacy, 10 January 1914
-
Man and Superman, 3 May 1913
-
Milestones, 22 March 1913
-
Othello, 14 March 1913
-
The Merchant of Venice, 11 March 1913
-
A Midsummer Night's Dream, 8 February 1913
-
The Taming of the Shrew, 1 February 1913
-
Antony and Cleopatra, 26 December 1912
-
Antony and Cleopatra (1), 26 December 1912
-
The Virgin Godess, 15 June 1912
-
Othello, 1 June 1912
-
Kismet, 6 April 1912
-
Oscar Asche and Lily Brayton - for copying, 1912
-
The Shaughraun, 29 May 1875
-
Humpty Dumpty, Who Sat on a Wall or Harlequin King Arthur, 28 December 1874
-
Oliver Twist, 11 May 1874
-
The Irish Tiger / The New Magdalen, 7 March 1874
-
Twinkle, Twinkle, Little Star or Harlequin Jack Frost and the Old Woman who Lived in a Shoe, 2 January 1874
-
Riquet with the Tuft; or, Harequin Old Mother Shipton, The Silver Champions and Darwin's Genealogical Tree, 26 December 1872
-
Society, followed by an after-piece, 14 December 1872
-
Opening Night, 6 November 1872
-
Milky White / Ode on Odd Fellowship / The House that Jack Built / New Tricks, 25 January 1870
-
Humpty Dumpty, Who Sat on a Wall or Harlequin King Arthur, 28 December 1874
-
The house that Jack Built or, Harlequin Progress and the Loves, Laughs, laments and Labours of Jack Melbourne and Little Victoria, 27 December 1869
-
King Arthur or, Launcelot the Loose, Gin-ever the Square, and the Knights of the Round Table and Other Furniture, 31 October 1868
|
|
Clyde Meynell
- Actor, Adjudicator, Administrator, Company Director, Director, General Manager, Producer
-
The Maid of the Mountains, 22 January 1921
-
The Boy, 23 October 1920
-
Penelope, 18 September 1920
-
The Duke of Killiecrankie, 11 September 1920
-
Outcast, 4 September 1920
-
Tilly of Bloomsbury, 20 March 1920
-
Lightnin', 15 August 1919
-
A Tailor-Made Man, 5 July 1919
-
Bought and Paid For, 28 June 1919
-
The Silent Witness, 31 May 1919
-
Common Clay, 10 May 1919
-
Three Faces East / The Monkey's Paw, 13 April 1919
-
Madame X, 5 April 1919
-
The Great Divide, 8 March 1919
-
Potash and Perlmutter, 23 November 1918
-
The High Cost of Loving, 9 November 1918
-
The Thirteenth Chair, 17 August 1918
-
The Man Who Came Back, 29 June 1918
-
Outcast, 11 May 1918
-
The Bird of Paradise, 22 December 1917
-
Mrs Dot, 1 December 1917
-
Mary Goes First, 10 November 1917
-
Good Gracious, Annabelle, 27 October 1917
-
Outcast, 8 September 1917
-
Grumpy, 16 June 1917
-
A Little Bit of Fluff, 2 June 1917
-
London Pride, 19 May 1917
-
The Marriage of Kitty, 7 April 1917
-
Fair and Warmer, 17 March 1917
-
The Misleading Lady, 10 February 1917
-
The Woman, 6 January 1917
-
It Pays to Advertise, 23 September 1916
-
Too Many Cooks , 16 September 1916
-
The Land of Promise, 26 August 1916
-
It Pays to Advertise, 29 January 1916
-
Under Fire, 1 January 1916
-
Kick In, 11 December 1915
-
Stop Thief, 4 December 1915
-
A Pair of Sixes, 13 November 1915
-
Madame X, 6 November 1915
-
Bought and Paid For, 30 October 1915
-
Within the Law, 23 October 1915
-
Nobody's Widow, 9 October 1915
-
Under Cover, 28 August 1915
-
Potash and Perlmutter, 10 July 1915
-
Broadway Jones, 24 April 1915
-
The Seven Keys to Baldpate, 13 March 1915
-
The Argyle Case, 17 October 1914
-
Monsieur Beaucaire, 12 September 1914
-
The Scarlet Pimpernel, 5 September 1914
-
A Royal Divorce, 1 August 1914
-
Officer 666, 27 June 1914
-
Never Say Die, 16 May 1914
-
Dorothy, 9 May 1914
-
Madame X, 28 March 1914
-
Joseph and His Brethren, 14 February 1914
-
The Lion and the Mouse, 7 February 1914
-
Milestones, 31 January 1914
-
Man and Superman, 29 January 1914
-
Diplomacy, 10 January 1914
-
Monsieur Beaucaire, 27 December 1913
-
Miss Elizabeth's Prisoner / The Great Game, 13 December 1913
-
A Butterfly on the Wheel , 25 October 1913
-
A Marriage of Convenience, 25 October 1913
-
Excuse me!, 11 October 1913
-
Within the Law, 17 May 1913
-
Man and Superman, 3 May 1913
-
Othello, 14 March 1913
-
The Merchant of Venice, 11 March 1913
-
A Midsummer Night's Dream, 8 February 1913
-
The Taming of the Shrew, 1 February 1913
-
Antony and Cleopatra (1), 26 December 1912
-
The Whip, 19 October 1912
-
Oscar Asche and Lily Brayton - for copying, 1912
-
The Girl Behind the Counter, 17 April 1909
-
The Fatal Wedding, 17 March 1906
-
The Fatal Wedding Tour, 17 March 1906
George Tallis
- Administrator, Company Director, Director
-
The Maid of the Mountains, 22 January 1921
-
The Boy, 23 October 1920
-
Penelope, 18 September 1920
-
The Duke of Killiecrankie, 11 September 1920
-
Outcast, 4 September 1920
-
Tilly of Bloomsbury, 20 March 1920
-
Kissing Time, 31 January 1920
-
Lightnin', 15 August 1919
-
A Tailor-Made Man, 5 July 1919
-
Bought and Paid For, 28 June 1919
-
The Silent Witness, 31 May 1919
-
Common Clay, 10 May 1919
-
Three Faces East / The Monkey's Paw, 13 April 1919
-
Madame X, 5 April 1919
-
The Great Divide, 8 March 1919
-
Potash and Perlmutter, 23 November 1918
-
The High Cost of Loving, 9 November 1918
-
The Thirteenth Chair, 17 August 1918
-
The Man Who Came Back, 29 June 1918
-
Outcast, 11 May 1918
-
The Bird of Paradise, 22 December 1917
-
Mrs Dot, 1 December 1917
-
Mary Goes First, 10 November 1917
-
Good Gracious, Annabelle, 27 October 1917
-
Outcast, 8 September 1917
-
Grumpy, 16 June 1917
-
A Little Bit of Fluff, 2 June 1917
-
London Pride, 19 May 1917
-
The Marriage of Kitty, 7 April 1917
-
Fair and Warmer, 17 March 1917
-
The Misleading Lady, 10 February 1917
-
The Woman, 6 January 1917
-
It Pays to Advertise, 23 September 1916
-
Too Many Cooks , 16 September 1916
-
The Land of Promise, 26 August 1916
-
It Pays to Advertise, 29 January 1916
-
Under Fire, 1 January 1916
-
Kick In, 11 December 1915
-
Stop Thief, 4 December 1915
-
A Pair of Sixes, 13 November 1915
-
Madame X, 6 November 1915
-
Bought and Paid For, 30 October 1915
-
Within the Law, 23 October 1915
-
Nobody's Widow, 9 October 1915
-
Under Cover, 28 August 1915
-
Potash and Perlmutter, 10 July 1915
-
Broadway Jones, 24 April 1915
-
The Seven Keys to Baldpate, 13 March 1915
-
The Argyle Case, 17 October 1914
-
Monsieur Beaucaire, 12 September 1914
-
The Scarlet Pimpernel, 5 September 1914
-
A Royal Divorce, 1 August 1914
-
Officer 666, 27 June 1914
-
Never Say Die, 16 May 1914
-
Dorothy, 9 May 1914
-
Madame X, 28 March 1914
-
Joseph and His Brethren, 14 February 1914
-
The Lion and the Mouse, 7 February 1914
-
Milestones, 31 January 1914
-
Man and Superman, 29 January 1914
-
Diplomacy, 10 January 1914
-
Monsieur Beaucaire, 27 December 1913
-
Miss Elizabeth's Prisoner / The Great Game, 13 December 1913
-
A Butterfly on the Wheel , 25 October 1913
-
A Marriage of Convenience, 25 October 1913
-
Excuse me!, 11 October 1913
-
Within the Law, 17 May 1913
-
Man and Superman, 3 May 1913
-
Othello, 14 March 1913
-
The Merchant of Venice, 11 March 1913
-
A Midsummer Night's Dream, 8 February 1913
-
The Taming of the Shrew, 1 February 1913
-
The Whip, 19 October 1912
Hugh J Ward
- Administrator, Company Director, Director
-
The Maid of the Mountains, 22 January 1921
-
The Boy, 23 October 1920
-
Penelope, 18 September 1920
-
The Duke of Killiecrankie, 11 September 1920
-
Outcast, 4 September 1920
-
Tilly of Bloomsbury, 20 March 1920
-
Kissing Time, 31 January 1920
-
Lightnin', 15 August 1919
-
A Tailor-Made Man, 5 July 1919
-
Bought and Paid For, 28 June 1919
-
The Silent Witness, 31 May 1919
-
Common Clay, 10 May 1919
-
Three Faces East / The Monkey's Paw, 13 April 1919
-
Madame X, 5 April 1919
-
The Great Divide, 8 March 1919
-
Potash and Perlmutter, 23 November 1918
-
The High Cost of Loving, 9 November 1918
-
The Thirteenth Chair, 17 August 1918
-
The Man Who Came Back, 29 June 1918
-
Outcast, 11 May 1918
-
The Bird of Paradise, 22 December 1917
-
Mrs Dot, 1 December 1917
-
Mary Goes First, 10 November 1917
-
Good Gracious, Annabelle, 27 October 1917
-
Outcast, 8 September 1917
-
Grumpy, 16 June 1917
-
A Little Bit of Fluff, 2 June 1917
-
London Pride, 19 May 1917
-
The Marriage of Kitty, 7 April 1917
-
Fair and Warmer, 17 March 1917
-
The Misleading Lady, 10 February 1917
-
The Woman, 6 January 1917
-
It Pays to Advertise, 23 September 1916
-
Too Many Cooks , 16 September 1916
-
The Land of Promise, 26 August 1916
-
It Pays to Advertise, 29 January 1916
-
Under Fire, 1 January 1916
-
Kick In, 11 December 1915
-
Stop Thief, 4 December 1915
-
A Pair of Sixes, 13 November 1915
-
Madame X, 6 November 1915
-
Bought and Paid For, 30 October 1915
-
Within the Law, 23 October 1915
-
Nobody's Widow, 9 October 1915
-
Under Cover, 28 August 1915
-
Potash and Perlmutter, 10 July 1915
-
Broadway Jones, 24 April 1915
-
The Seven Keys to Baldpate, 13 March 1915
-
The Argyle Case, 17 October 1914
-
Monsieur Beaucaire, 12 September 1914
-
The Scarlet Pimpernel, 5 September 1914
-
A Royal Divorce, 1 August 1914
-
Officer 666, 27 June 1914
-
Never Say Die, 16 May 1914
-
Dorothy, 9 May 1914
-
Madame X, 28 March 1914
-
Joseph and His Brethren, 14 February 1914
-
The Lion and the Mouse, 7 February 1914
-
Milestones, 31 January 1914
-
Man and Superman, 29 January 1914
-
Diplomacy, 10 January 1914
-
Monsieur Beaucaire, 27 December 1913
-
Miss Elizabeth's Prisoner / The Great Game, 13 December 1913
-
A Marriage of Convenience, 25 October 1913
-
Excuse me!, 11 October 1913
-
Man and Superman, 3 May 1913
-
Othello, 14 March 1913
-
The Merchant of Venice, 11 March 1913
-
A Midsummer Night's Dream, 8 February 1913
-
The Taming of the Shrew, 1 February 1913
-
Antony and Cleopatra (1), 26 December 1912
-
The Whip, 19 October 1912
-
Oscar Asche and Lily Brayton - for copying, 1912
John Hennings
- Actor-manager, Designer, Entrepreneur, Lessee, Scenic Artist
-
Dick Whittington and His Cat or Harlequin the Demon Rat and the Good Fairies of the Bells, 27 December 1897
-
Santa Claus, the House that Jack Built and the Historical Giant Killer, 26 December 1895
-
Aladdin and the Wonderful Lamp, 26 December 1894
-
Sinbad the Sailor, Little Jack Horner and the Old Man of the Sea, 26 December 1893
-
Cinderella, Gold and Silver and the Little Glass Slipper, 26 December 1889
-
Robinson Crusoe, 26 December 1886
-
Human Nature, 23 October 1886
-
Sleeping Beauty or, Harlequin Mother Goose and the Seven Champions of Christendom, 26 December 1885
-
Jack and the Beanstalk and See-Saw, Margery Daw or, Harlequin Man in the Moon, The Love Birds of Fairyland, 26 December 1882
-
Russia As It Is, 6 May 1882
-
Youth, 28 April 1882
-
Whittington and His Cat, 24 December 1881
-
Sinbad the Sailor; or The Pet of the Pearl; The Old Man of the Sea; and the Dwarf of the Diamond Valley, 27 December 1880
-
The Babes in the Wood, 26 December 1879
-
The Life and Death of King Richard III, 12 August 1879
-
All for Gold, or Fifty Millions of Money, 6 June 1877
-
Romeo and Juliet, 10 August 1876
-
The Shaughraun, 29 May 1875
-
Humpty Dumpty, Who Sat on a Wall or Harlequin King Arthur, 28 December 1874
-
Oliver Twist, 11 May 1874
-
Twinkle, Twinkle, Little Star or Harlequin Jack Frost and the Old Woman who Lived in a Shoe, 2 January 1874
-
Riquet with the Tuft; or, Harequin Old Mother Shipton, The Silver Champions and Darwin's Genealogical Tree, 26 December 1872
-
Quite Alone, 7 November 1872
-
Jack and The Beanstalk or Harlequin Nursery Rhymes and the Pranks of the Good Little People , 26 December 1871
-
Ixion or, The Man at the Wheel, 9 September 1871
-
Elfie, or the Cherry Tree Inn, 1 July 1871
-
Papillionetta or, The Prince's Little Feat and the Big Beatle Crusher, 10 April 1871
-
Goody Two Shoes and Little Boy Blue, 26 December 1870
-
Sun and Shadow or, Mark Stornway's Nephew, 1 October 1870
-
Milky White / Ode on Odd Fellowship / The House that Jack Built / New Tricks, 25 January 1870
-
The house that Jack Built or, Harlequin Progress and the Loves, Laughs, laments and Labours of Jack Melbourne and Little Victoria, 27 December 1869
-
Catching a Conspirator, 28 August 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 7 August 1869
-
Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, 25 March 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 6 March 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 1 February 1869
-
Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, 24 December 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 12 December 1868
-
Christine Johnstone, the Snowdrop of the North, 21 November 1868
-
King Arthur or, Launcelot the Loose, Gin-ever the Square, and the Knights of the Round Table and Other Furniture, 31 October 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 18 August 1868
-
Leah the Forsaken / The Bonnie Fishwife, 3 August 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 25 May 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 11 April 1868
-
Tom Tom the Piper's Son and Mary Mary Quite Contrary, 26 December 1867
-
Gulliver on his travels or, Harlequin and Father Christmas and the fairy queen of the silver acacias, 26 December 1866
-
A Day at the Intercolonial Exhibition or A Shilling Day at the Intercolonial Exhabition, 24 November 1866
-
The Gladiator of Ravenna, 1 July 1865
-
Maritana, 20 March 1865
-
The Enchanted Island or Harlequin the Mysyterious Prince and the Magician Father, 24 December 1864
-
Ali Baba, or The Thirty-Nine Thieves, 3 September 1864
-
Harlequin Valentine and Orson or, The Task of Romance and The TRicks of the Spirit of Fun, 26 December 1861
-
The Gentleman In Black, 24 July 1861
-
Little Jack Horner the Original Hero of the Corner or, The Fairy Cooks of Our Christmas Pie, 26 December 1860
-
A Broil at the Cafe, 22 September 1860
-
A Spec in China, 24 July 1860
-
Harlequin Prince Humpy Dumpy or, The Magic Eagle and The Golden Branch, 26 December 1859
-
Multiplication is Vexation, Division is as Bad or, Harlequin Rule of Three and The Genius of the Crystal lake of Learning, 26 December 1856
Henry Richard Harwood
- Actor, Actor-manager, Director, Lessee, Stage Manager
-
Romeo and Juliet, 10 August 1876
-
The Shaughraun, 29 May 1875
-
Humpty Dumpty, Who Sat on a Wall or Harlequin King Arthur, 28 December 1874
-
Twinkle, Twinkle, Little Star or Harlequin Jack Frost and the Old Woman who Lived in a Shoe, 2 January 1874
-
Quite Alone, 7 November 1872
-
Papillionetta or, The Prince's Little Feat and the Big Beatle Crusher, 10 April 1871
-
Goody Two Shoes and Little Boy Blue, 26 December 1870
-
Sun and Shadow or, Mark Stornway's Nephew, 1 October 1870
-
Milky White / Ode on Odd Fellowship / The House that Jack Built / New Tricks, 25 January 1870
-
The house that Jack Built or, Harlequin Progress and the Loves, Laughs, laments and Labours of Jack Melbourne and Little Victoria, 27 December 1869
-
Catching a Conspirator, 28 August 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 7 August 1869
-
Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, 25 March 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 6 March 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 1 February 1869
-
Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, 24 December 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 12 December 1868
-
Catching a Conspirator, 28 November 1868
-
King Arthur or, Launcelot the Loose, Gin-ever the Square, and the Knights of the Round Table and Other Furniture, 31 October 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 18 August 1868
-
Leah the Forsaken / The Bonnie Fishwife, 3 August 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 25 May 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 11 April 1868
-
Tom Tom the Piper's Son and Mary Mary Quite Contrary, 26 December 1867
-
An Actor Out of Luck, 29 October 1867
-
Catching a Conspirator, 30 September 1867
-
Catching a Conspirator, 16 September 1867
-
Catching a Conspirator, 19 June 1867
-
Faust D.D.D or, The Demon the Doctor and the Damsel, 8 June 1867
-
Francesca Vasari, a Tragedy, 17 April 1867
-
The Mariner's Compass or, Duty, 28 January 1867
-
Gulliver on his travels or, Harlequin and Father Christmas and the fairy queen of the silver acacias, 26 December 1866
-
A Day at the Intercolonial Exhibition or A Shilling Day at the Intercolonial Exhabition, 24 November 1866
-
The Gladiator of Ravenna, 1 July 1865
-
Turtle Soup, 1 May 1865
-
The Enchanted Island or Harlequin the Mysyterious Prince and the Magician Father, 24 December 1864
-
Ali Baba, or The Thirty-Nine Thieves, 3 September 1864
-
A Night at Emerald Hill, 30 July 1864
-
A Night at Emerald Hill, 24 October 1863
-
A Night at Emerald Hill, 12 June 1863
-
Harlequin Arabian Nights or, The Fast Young Turk and The Pretty Russian, 26 December 1862
-
Harlequin Valentine and Orson or, The Task of Romance and The TRicks of the Spirit of Fun, 26 December 1861
-
The Gentleman In Black, 24 July 1861
-
Little Jack Horner the Original Hero of the Corner or, The Fairy Cooks of Our Christmas Pie, 26 December 1860
-
A Spec in China, 24 July 1860
-
The Yellow Dwarf or The King Of the Golden Mines, 25 April 1859
-
Harlequin Robin Hood or, The Bold Huntsman of Sherwood and the Fairy Locallotta, 27 December 1858
-
Coppin in Cairo; A Romance Of The Mail Service, 24 May 1858
Bland Holt
- Actor, Actor-manager, Director, Entrepreneur, Lessee, Producer, Stage Director
-
The Great Rescue, 5 October 1907
-
The White Heather, 28 April 1907
-
Revenge, 30 March 1907
-
The Prodigal Son, 17 February 1906
-
With Flying Colours, 25 November 1905
-
The Best of Friends, 22 April 1905
-
Flood Tide, 5 March 1904
-
A Desperate Game, 26 December 1903
-
The Great Millionaire, 2 November 1903
-
Going the Pace, 25 July 1903
-
The Breaking of the Drought, 8 June 1903
-
The Price of Peace, 9 May 1903
-
The Prodigal Daughter, 12 April 1903
-
Zoe the white arab, 1902
-
The War of Wealth, 9 December 1901
-
In London Town, 11 June 1901
-
Women and Wine, 11 May 1901
-
The Great Ruby, February 1901
-
With Flying Colours, 22 December 1900
-
The Absent Minded Beggar, November 1900
-
The War of Wealth, 29 July 1899
-
The Cotton King, 10 July 1897
-
A Life of Pleasure, 5 June 1897
-
In Sight of St. Pauls, 17 April 1897
-
Riding to Win, 13 February 1897
-
For England, 26 December 1896
-
The Derby Winner, 13 February 1896
-
The Fatal Card, 2 March 1895
-
The Trumpet Call, 2 July 1892
-
A Sailor`s Knot, 21 May 1892
-
Riding to Win, 1890
-
The Golden Ladder, 23 March 1889
-
Union Jack, 16 March 1889
-
Taken From Life, 26 May 1888
-
Alone in London, 12 May 1888
-
Mankind; or Beggar Your Neighbour, 28 April 1888
-
The New Babylon, 31 March 1888
-
The World, 11 June 1887
-
Alone in London, 14 May 1887
-
A Run of Luck, 15 April 1887
-
Pluck, or A Story of £50,000, 7 September 1883
-
Jack and the Beanstalk and See-Saw, Margery Daw or, Harlequin Man in the Moon, The Love Birds of Fairyland, 26 December 1882
-
The World, 1 October 1881
-
Sinbad the Sailor; or The Pet of the Pearl; The Old Man of the Sea; and the Dwarf of the Diamond Valley, 27 December 1880
-
Babes in the Woods, 7 February 1880
Mr George Coppin
- Actor, Actor-manager, Director, Entrepreneur, Lessee, Producer
-
Santa Claus, the House that Jack Built and the Historical Giant Killer, 26 December 1895
-
Aladdin and the Wonderful Lamp, 26 December 1894
-
Sinbad the Sailor, Little Jack Horner and the Old Man of the Sea, 26 December 1893
-
Babes in the Woods or Bold Robin Hood and his Foresters Good, 24 December 1892
-
Dick Whittington and His Cat or Harlequin the Demon Rat and the Good Fairies of the Bells, 26 December 1891
-
Russia As It Is, 6 May 1882
-
Youth, 28 April 1882
-
Whittington and His Cat, 24 December 1881
-
Sinbad the Sailor; or The Pet of the Pearl; The Old Man of the Sea; and the Dwarf of the Diamond Valley, 27 December 1880
-
The Babes in the Wood, 26 December 1879
-
The Life and Death of King Richard III, 12 August 1879
-
Romeo and Juliet, 10 August 1876
-
The Shaughraun, 29 May 1875
-
Struck Oil, 1 August 1874
-
Riquet with the Tuft; or, Harequin Old Mother Shipton, The Silver Champions and Darwin's Genealogical Tree, 26 December 1872
-
Society, followed by an after-piece, 14 December 1872
-
Quite Alone, 7 November 1872
-
Jack and The Beanstalk or Harlequin Nursery Rhymes and the Pranks of the Good Little People , 26 December 1871
-
Colonial Experience, 17 November 1871
-
Peacock's Feathers, 23 September 1871
-
Ixion or, The Man at the Wheel, 9 September 1871
-
A Supper Gratis or, An Impudent Intruder, 15 July 1871
-
The Octoroon / Old Gooseberry, 24 June 1871
-
Papillionetta or, The Prince's Little Feat and the Big Beatle Crusher, 10 April 1871
-
Goody Two Shoes and Little Boy Blue, 26 December 1870
-
Sun and Shadow or, Mark Stornway's Nephew, 1 October 1870
-
Milky White / Ode on Odd Fellowship / The House that Jack Built / New Tricks, 25 January 1870
-
The house that Jack Built or, Harlequin Progress and the Loves, Laughs, laments and Labours of Jack Melbourne and Little Victoria, 27 December 1869
-
Catching a Conspirator, 28 August 1869
-
Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, 25 March 1869
-
Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, 24 December 1868
-
Little Jack Horner the Original Hero of the Corner or, The Fairy Cooks of Our Christmas Pie, 26 December 1860
-
Coppin in Cairo; A Romance Of The Mail Service, 24 May 1858
-
The Conquest of Delhi, 1 February 1858
-
Harlequin Whittington and His Cat, 26 December 1857
-
The Melbourne Fireman, 24 June 1857
-
Young Australia, 9 June 1857
-
The Melbourne Hunt or, A Club Night at Cheltenham, 28 May 1857
-
Coppin's Adventures with a Polish Princess, 31 January 1857
-
Dred or, A tale of the Great Dismal Swamp , 24 January 1857
-
Multiplication is Vexation, Division is as Bad or, Harlequin Rule of Three and The Genius of the Crystal lake of Learning, 26 December 1856
-
Wanted 1000 Young Milliners for The Gold Diggings, 14 November 1856
-
Wanted 1000 Young Milliners for The Gold Diggings, 1 September 1856
Taylor Darbyshire
- Administrator, Adminstrator, Business Manager, General Director, General Manager
-
The Thirteenth Chair, 17 August 1918
-
Grumpy, 16 June 1917
-
A Little Bit of Fluff, 2 June 1917
-
London Pride, 19 May 1917
-
The Marriage of Kitty, 7 April 1917
-
Fair and Warmer, 17 March 1917
-
The Misleading Lady, 10 February 1917
-
The Woman, 6 January 1917
-
It Pays to Advertise, 23 September 1916
-
Too Many Cooks , 16 September 1916
-
The Land of Promise, 26 August 1916
-
It Pays to Advertise, 29 January 1916
-
Under Fire, 1 January 1916
-
Kick In, 11 December 1915
-
Stop Thief, 4 December 1915
-
A Pair of Sixes, 13 November 1915
-
Madame X, 6 November 1915
-
Bought and Paid For, 30 October 1915
-
Within the Law, 23 October 1915
-
Nobody's Widow, 9 October 1915
-
Under Cover, 28 August 1915
-
Potash and Perlmutter, 10 July 1915
-
Broadway Jones, 24 April 1915
-
The Seven Keys to Baldpate, 13 March 1915
-
The Argyle Case, 17 October 1914
-
Monsieur Beaucaire, 12 September 1914
-
The Scarlet Pimpernel, 5 September 1914
-
A Royal Divorce, 1 August 1914
-
Officer 666, 27 June 1914
-
Never Say Die, 16 May 1914
-
Dorothy, 9 May 1914
-
Madame X, 28 March 1914
-
The Lion and the Mouse, 7 February 1914
-
Man and Superman, 29 January 1914
-
Diplomacy, 10 January 1914
-
Monsieur Beaucaire, 27 December 1913
-
Miss Elizabeth's Prisoner / The Great Game, 13 December 1913
Charles A Wenman
- Administrator, Director, Director, Associate, Producer
-
The Quaker Girl, 22 July 1933
-
Hold My Hand, 17 June 1933
-
Sinbad the Sailor, 26 December 1931
-
The House That Jack Built, 20 December 1930
-
Queen High, 24 December 1927
-
Frasquita, 9 July 1927
-
Katja, 18 September 1926
-
The Merry Widow, 2 January 1926
-
The Maid of the Mountains, 22 January 1921
-
The Boy, 23 October 1920
-
Penelope, 18 September 1920
-
The Duke of Killiecrankie, 11 September 1920
-
Outcast, 4 September 1920
-
The Girl in the Taxi, 21 August 1920
-
Tilly of Bloomsbury, 20 March 1920
-
Kissing Time, 31 January 1920
-
Lightnin', 15 August 1919
-
A Tailor-Made Man, 5 July 1919
-
The Silent Witness, 31 May 1919
-
Common Clay, 10 May 1919
-
Three Faces East / The Monkey's Paw, 13 April 1919
-
Madame X, 5 April 1919
-
The Great Divide, 8 March 1919
-
Potash and Perlmutter, 23 November 1918
-
The High Cost of Loving, 9 November 1918
-
The Thirteenth Chair, 17 August 1918
-
The Man Who Came Back, 29 June 1918
-
Outcast, 11 May 1918
-
The Bird of Paradise, 22 December 1917
-
Mrs Dot, 1 December 1917
-
Mary Goes First, 10 November 1917
-
Good Gracious, Annabelle, 27 October 1917
-
Outcast, 8 September 1917
-
The Woman, 6 January 1917
-
The House of Temperley, 3 March 1912
-
The Chocolate Soldier, 17 February 1912
-
Cinderella, 19 December 1908
Leslie Board
- Scenic Artist, Set and/or Property Maker, Set Designer
-
Hold My Hand, 17 June 1933
-
Our Miss Gibbs, 15 April 1933
-
Blue Roses, 13 May 1932
-
The House That Jack Built, 20 December 1930
-
The Girlfriend, 28 April 1928
-
The Cabaret Girl, 25 March 1924
-
A Night Out, 21 January 1922
-
The Sign on the Door, 5 November 1921
-
Nightie Night, 30 July 1921
-
Going Up, 28 May 1920
-
A Tailor-Made Man, 5 July 1919
-
Common Clay, 10 May 1919
-
Madame X, 5 April 1919
-
The Great Divide, 8 March 1919
-
Potash and Perlmutter, 23 November 1918
-
Oh, Boy, 14 September 1918
-
Outcast, 8 September 1917
-
A Little Bit of Fluff, 2 June 1917
-
London Pride, 19 May 1917
-
Fair and Warmer, 17 March 1917
-
A Royal Divorce, 28 October 1916
-
Get Rich Quick Wallingford, 14 October 1916
-
It Pays to Advertise, 23 September 1916
-
Get Rich Quick Wallingford, 6 May 1916
-
It Pays to Advertise, 29 January 1916
-
Stop Thief, 4 December 1915
-
A Pair of Sixes, 13 November 1915
-
Broadway Jones, 24 April 1915
-
The Seven Keys to Baldpate, 13 March 1915
-
The Argyle Case, 17 October 1914
-
A Royal Divorce, 1 August 1914
-
Officer 666, 27 June 1914
-
Never Say Die, 16 May 1914
-
The Fortune Hunter, 16 August 1913
-
Within the Law, 17 May 1913
-
Get Rich Quick Wallingford, 20 November 1912
-
The Command to Love, 25 March 1933
-
The Bad Man, 24 April 1926
-
The Laughter of Fools, 7 January 1922
-
The Maid of the Mountains, 22 January 1921
-
The Boy, 23 October 1920
-
A Tailor-Made Man, 5 July 1919
-
Nothing But The Truth, 26 December 1918
-
The Thirteenth Chair, 17 August 1918
-
Mrs Dot, 1 December 1917
-
Mary Goes First, 10 November 1917
-
Good Gracious, Annabelle, 27 October 1917
-
The Misleading Lady, 10 February 1917
-
The Woman, 6 January 1917
-
A Royal Divorce, 28 October 1916
-
It Pays to Advertise, 23 September 1916
-
Too Many Cooks , 16 September 1916
-
The Boomerang, 22 April 1916
-
It Pays to Advertise, 29 January 1916
-
Under Fire, 1 January 1916
-
Kick In, 11 December 1915
-
Monsieur Beaucaire, 12 September 1914
-
The Scarlet Pimpernel, 5 September 1914
-
A Royal Divorce, 1 August 1914
-
The Lion and the Mouse, 7 February 1914
-
Milestones, 31 January 1914
-
Man and Superman, 29 January 1914
-
Diplomacy, 10 January 1914
-
Man and Superman, 3 May 1913
-
Milestones, 22 March 1913
-
The Whip, 19 October 1912
-
The House of Temperley, 3 March 1912
-
Youth, 28 April 1882
-
The Shaughraun, 29 May 1875
-
Humpty Dumpty, Who Sat on a Wall or Harlequin King Arthur, 28 December 1874
-
Oliver Twist, 11 May 1874
-
The Irish Tiger / The New Magdalen, 7 March 1874
-
Twinkle, Twinkle, Little Star or Harlequin Jack Frost and the Old Woman who Lived in a Shoe, 2 January 1874
-
Riquet with the Tuft; or, Harequin Old Mother Shipton, The Silver Champions and Darwin's Genealogical Tree, 26 December 1872
-
Quite Alone, 7 November 1872
-
Milky White / Ode on Odd Fellowship / The House that Jack Built / New Tricks, 25 January 1870
-
The house that Jack Built or, Harlequin Progress and the Loves, Laughs, laments and Labours of Jack Melbourne and Little Victoria, 27 December 1869
-
Catching a Conspirator, 28 August 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 7 August 1869
-
Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, 25 March 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 6 March 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 1 February 1869
-
Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, 24 December 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 12 December 1868
-
Catching a Conspirator, 28 November 1868
-
King Arthur or, Launcelot the Loose, Gin-ever the Square, and the Knights of the Round Table and Other Furniture, 31 October 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 18 August 1868
-
Leah the Forsaken / The Bonnie Fishwife, 3 August 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 25 May 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 11 April 1868
-
Catching a Conspirator, 30 September 1867
-
Catching a Conspirator, 16 September 1867
-
Catching a Conspirator, 19 June 1867
-
Faust D.D.D or, The Demon the Doctor and the Damsel, 8 June 1867
-
Gulliver on his travels or, Harlequin and Father Christmas and the fairy queen of the silver acacias, 26 December 1866
-
A Day at the Intercolonial Exhibition or A Shilling Day at the Intercolonial Exhabition, 24 November 1866
-
Ivanhoe, or The Trial by Battle! / My heart's in the Highlands, 30 August 1866
-
The house that Jack Built or, Harlequin Progress and the Loves, Laughs, laments and Labours of Jack Melbourne and Little Victoria, 27 December 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 7 August 1869
-
The Battle of Hastings, or The Duke, the Earl, the Witch, the Why, and the Wherefore, 29 March 1869
-
Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, 25 March 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 6 March 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 1 February 1869
-
Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, 24 December 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 12 December 1868
-
The Siege of Troy, 2 November 1868
-
King Arthur or, Launcelot the Loose, Gin-ever the Square, and the Knights of the Round Table and Other Furniture, 31 October 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 18 August 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 25 May 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 11 April 1868
-
Tom Tom the Piper's Son and Mary Mary Quite Contrary, 26 December 1867
-
Gulliver on his travels or, Harlequin and Father Christmas and the fairy queen of the silver acacias, 26 December 1866
-
Harlequin Arabian Nights or, The Fast Young Turk and The Pretty Russian, 26 December 1862
-
Harlequin Valentine and Orson or, The Task of Romance and The TRicks of the Spirit of Fun, 26 December 1861
-
Little Jack Horner the Original Hero of the Corner or, The Fairy Cooks of Our Christmas Pie, 26 December 1860
-
The Nymph of the Lurleyburg , 5 April 1860
-
The Yellow Dwarf or The King Of the Golden Mines, 25 April 1859
-
Harlequin Robin Hood or, The Bold Huntsman of Sherwood and the Fairy Locallotta, 27 December 1858
-
Coppin in Cairo; A Romance Of The Mail Service, 24 May 1858
-
Rolla of Ours or, The Shameful Goings-on of the Spaniards in Peru , 19 January 1858
-
Harlequin Whittington and His Cat, 26 December 1857
-
The Fall of Sebastopol or, The Campaigners, 17 August 1857
-
Romance and Reality or The Digger in London, 17 January 1857
-
Multiplication is Vexation, Division is as Bad or, Harlequin Rule of Three and The Genius of the Crystal lake of Learning, 26 December 1856
-
The Mirror of Beauty or, Little Snow White and the Seven Dwarfs, 5 October 1855
-
The School for Scandal / National Spanich Dance / An Actress of All Work, 16 July 1855
G H Smith
- Actor, Adminstrator, Business Manager, General Manager
-
The Bird of Paradise, 22 December 1917
-
Mrs Dot, 1 December 1917
-
Mary Goes First, 10 November 1917
-
Good Gracious, Annabelle, 27 October 1917
-
Outcast, 8 September 1917
-
Grumpy, 16 June 1917
-
Penelope, 5 May 1917
-
The Marriage of Kitty, 7 April 1917
-
The Misleading Lady, 10 February 1917
-
It Pays to Advertise, 29 January 1916
-
Kick In, 11 December 1915
-
A Pair of Sixes, 13 November 1915
-
Madame X, 6 November 1915
-
Bought and Paid For, 30 October 1915
-
Within the Law, 23 October 1915
-
Under Cover, 28 August 1915
-
Potash and Perlmutter, 10 July 1915
-
Broadway Jones, 24 April 1915
-
The Argyle Case, 17 October 1914
-
Never Say Die, 16 May 1914
-
Madame X, 28 March 1914
-
The Doctor's Dilemma, 24 March 1914
-
The Lion and the Mouse, 7 February 1914
-
Within the Law, 17 May 1913
-
A Midsummer Night's Dream, 8 February 1913
-
Antony and Cleopatra (1), 26 December 1912
-
The Virgin Goddess, 15 June 1912
-
Othello, 1 June 1912
-
Oscar Asche and Lily Brayton - for copying, 1912
James Cassius Williamson
- Actor, Actor-manager, Adaptor, Company Director, Lessee, Producer
-
The Seven Keys to Baldpate, 13 March 1915
-
Officer 666, 27 June 1914
-
Never Say Die, 16 May 1914
-
Dorothy, 9 May 1914
-
Joseph and His Brethren, 14 February 1914
-
Milestones, 31 January 1914
-
Monsieur Beaucaire, 27 December 1913
-
Miss Elizabeth's Prisoner / The Great Game, 13 December 1913
-
A Marriage of Convenience, 25 October 1913
-
A Butterfly on the Wheel , 25 October 1913
-
Excuse me!, 11 October 1913
-
Man and Superman, 3 May 1913
-
Othello, 14 March 1913
-
The Merchant of Venice, 11 March 1913
-
A Midsummer Night's Dream, 8 February 1913
-
The Taming of the Shrew, 1 February 1913
-
Antony and Cleopatra (1), 26 December 1912
-
The Whip, 19 October 1912
-
Oscar Asche and Lily Brayton - for copying, 1912
-
Aladdin, being an Old Version of a New Lamp , 26 December 1890
-
Grand Complimentary Benefit for Mr George Darrell, 23 August 1887
-
Struck Oil, 22 August 1887
-
Eureka, 13 August 1887
-
Rip Van Winkle, 6 August 1887
-
The Streets of London, 23 July 1887
-
Shadows of a Great City and The Chinese Question, 16 July 1887
-
Struck Oil, 25 June 1887
-
The Chinese Question, 27 November 1874
-
Struck Oil, 1 August 1874
Robert Cane
- Administrator, Musical Director
-
Tilly of Bloomsbury, 20 March 1920
-
Lightnin', 15 August 1919
-
A Tailor-Made Man, 5 July 1919
-
Bought and Paid For, 28 June 1919
-
The Silent Witness, 31 May 1919
-
Common Clay, 10 May 1919
-
Three Faces East / The Monkey's Paw, 13 April 1919
-
Madame X, 5 April 1919
-
The Great Divide, 8 March 1919
-
The High Cost of Loving, 9 November 1918
-
Outcast, 11 May 1918
-
Mrs Dot, 1 December 1917
-
Mary Goes First, 10 November 1917
-
Good Gracious, Annabelle, 27 October 1917
-
Outcast, 8 September 1917
-
Grumpy, 16 June 1917
-
A Little Bit of Fluff, 2 June 1917
-
London Pride, 19 May 1917
-
Penelope, 5 May 1917
-
The Marriage of Kitty, 7 April 1917
-
Fair and Warmer, 17 March 1917
-
The Misleading Lady, 10 February 1917
-
The Woman, 6 January 1917
-
It Pays to Advertise, 23 September 1916
-
Too Many Cooks , 16 September 1916
-
The Land of Promise, 26 August 1916
-
The Boomerang, 22 April 1916
-
Kick In, 11 December 1915
-
The Mikado, 16 December 1932
-
The Yeomen of the Guard, 15 December 1932
-
Iolanthe, 14 December 1932
-
The Gondoliers, 13 December 1932
-
Princess Ida, 10 December 1932
-
Dorothy, 3 December 1932
-
Lilac Time, 12 November 1932
-
H.M.S. Pinafore / Cox and Box, 5 November 1932
-
The Mikado, 29 October 1932
-
The Pirates of Penzance / Trial by Jury, 22 October 1932
-
The Yeomen of the Guard, 15 October 1932
-
Iolanthe, 8 October 1932
-
Ruddigore, 1 October 1932
-
H.M.S. Pinafore / Cox and Box, 11 July 1931
-
The Yeomen of the Guard, 27 June 1931
-
The Mikado, 30 May 1931
-
Iolanthe, 16 May 1931
-
The Pirates of Penzance / Trial by Jury, 2 May 1931
-
The Gondoliers, 11 April 1931
-
Lilac Time, 6 September 1930
-
The New Moon, 19 July 1930
-
Katinka, 19 May 1930
-
The Merry Widow, 26 April 1930
-
Lilac Time, 9 January 1926
-
The Merry Widow, 2 January 1926
-
Katinka, 2 July 1921
-
Tilly of Bloomsbury, 20 March 1920
-
The Silent Witness, 31 May 1919
-
Common Clay, 10 May 1919
-
Three Faces East / The Monkey's Paw, 13 April 1919
-
Madame X, 5 April 1919
-
The Great Divide, 8 March 1919
-
The Man Who Came Back, 29 June 1918
-
The Willow Tree, 27 April 1918
-
The Misleading Lady, 10 February 1917
-
The House of Temperley, 3 March 1912
-
The White Heather, 28 April 1907
-
Revenge, 30 March 1907
-
The Prodigal Son, 17 February 1906
-
With Flying Colours, 25 November 1905
-
The Best of Friends, 22 April 1905
-
Flood Tide, 5 March 1904
-
A Desperate Game, 26 December 1903
-
The Great Millionaire, 2 November 1903
-
Going the Pace, 25 July 1903
-
The Breaking of the Drought, 8 June 1903
-
The Price of Peace, 9 May 1903
-
The War of Wealth, 9 December 1901
-
In London Town, 11 June 1901
-
With Flying Colours, 22 December 1900
-
The Absent Minded Beggar, November 1900
-
The War of Wealth, 29 July 1899
George Upward
- Scenic Artist, Set and/or Property Maker, Set Designer
-
The House That Jack Built, 20 December 1930
-
Kissing Time, 24 May 1924
-
The Sign on the Door, 5 November 1921
-
Katinka, 2 July 1921
-
Going Up, 28 May 1920
-
Tilly of Bloomsbury, 20 March 1920
-
Kissing Time, 31 January 1920
-
Lightnin', 15 August 1919
-
A Tailor-Made Man, 5 July 1919
-
Common Clay, 10 May 1919
-
Madame X, 5 April 1919
-
The Great Divide, 8 March 1919
-
The High Cost of Loving, 9 November 1918
-
The Man Who Came Back, 29 June 1918
-
The Bird of Paradise, 22 December 1917
-
Grumpy, 16 June 1917
-
Penelope, 5 May 1917
-
The Marriage of Kitty, 7 April 1917
-
The Land of Promise, 26 August 1916
-
The Boomerang, 22 April 1916
-
Under Fire, 1 January 1916
-
Nobody's Widow, 9 October 1915
-
The Argyle Case, 17 October 1914
-
Joseph and His Brethren, 14 February 1914
-
Diplomacy, 10 January 1914
-
The Whip, 19 October 1912
-
The Mikado, 16 December 1932
-
The Yeomen of the Guard, 15 December 1932
-
Iolanthe, 14 December 1932
-
The Gondoliers, 13 December 1932
-
Princess Ida, 10 December 1932
-
Dorothy, 3 December 1932
-
Lilac Time, 12 November 1932
-
The Gondoliers, 10 November 1932
-
H.M.S. Pinafore / Cox and Box, 5 November 1932
-
The Mikado, 29 October 1932
-
Patience, 27 October 1932
-
The Pirates of Penzance / Trial by Jury, 22 October 1932
-
The Yeomen of the Guard, 15 October 1932
-
Iolanthe, 8 October 1932
-
Ruddigore, 1 October 1932
-
The Gondoliers, 26 September 1932
-
Patience, 25 July 1931
-
H.M.S. Pinafore / Cox and Box, 11 July 1931
-
The Yeomen of the Guard, 27 June 1931
-
The Mikado, 30 May 1931
-
Iolanthe, 16 May 1931
-
The Pirates of Penzance / Trial by Jury, 2 May 1931
-
The Gondoliers, 11 April 1931
-
Sons o' Guns, 31 January 1931
-
The New Moon, 19 July 1930
-
Dorothy, 3 December 1932
-
The Gondoliers, 10 November 1932
-
H.M.S. Pinafore / Cox and Box, 5 November 1932
-
The Mikado, 29 October 1932
-
Patience, 27 October 1932
-
The Pirates of Penzance / Trial by Jury, 22 October 1932
-
The Yeomen of the Guard, 15 October 1932
-
Iolanthe, 8 October 1932
-
Ruddigore, 1 October 1932
-
The Gondoliers, 26 September 1932
-
H.M.S. Pinafore / Cox and Box, 11 July 1931
-
The Yeomen of the Guard, 27 June 1931
-
The Mikado, 30 May 1931
-
Iolanthe, 16 May 1931
-
The Pirates of Penzance / Trial by Jury, 2 May 1931
-
The Gondoliers, 11 April 1931
-
The House That Jack Built, 20 December 1930
-
Frasquita, 9 July 1927
-
Kissing Time, 24 May 1924
-
The Cabaret Girl, 25 March 1924
-
Going Up, 28 May 1920
-
Kissing Time, 31 January 1920
-
Oh Boy, 5 October 1918
-
Oh, Boy, 14 September 1918
-
Joseph and His Brethren, 14 February 1914
-
The Mikado, 16 December 1932
-
The Yeomen of the Guard, 15 December 1932
-
Iolanthe, 14 December 1932
-
The Gondoliers, 13 December 1932
-
Princess Ida, 10 December 1932
-
The Gondoliers, 10 November 1932
-
H.M.S. Pinafore / Cox and Box, 5 November 1932
-
The Mikado, 29 October 1932
-
Patience, 27 October 1932
-
The Pirates of Penzance / Trial by Jury, 22 October 1932
-
The Yeomen of the Guard, 15 October 1932
-
Iolanthe, 8 October 1932
-
Ruddigore, 1 October 1932
-
The Gondoliers, 26 September 1932
-
Patience, 25 July 1931
-
H.M.S. Pinafore / Cox and Box, 11 July 1931
-
The Yeomen of the Guard, 27 June 1931
-
The Mikado, 30 May 1931
-
Iolanthe, 16 May 1931
-
The Pirates of Penzance / Trial by Jury, 2 May 1931
-
The Gondoliers, 11 April 1931
-
The Yeomen of the Guard, 1 August 1922
-
The Yeomen of the Guard, 5 January 1922
-
The Mikado, or The Town of Titipu, 20 February 1886
-
Iolanthe or, The Peer and the Peri, 25 November 1882
-
The Great Rescue, 5 October 1907
-
The White Heather, 28 April 1907
-
Revenge, 30 March 1907
-
The Prodigal Son, 17 February 1906
-
With Flying Colours, 25 November 1905
-
Flood Tide, 5 March 1904
-
A Desperate Game, 26 December 1903
-
The Great Millionaire, 2 November 1903
-
The Price of Peace, 9 May 1903
-
The War of Wealth, 9 December 1901
-
In London Town, 11 June 1901
-
Women and Wine, 11 May 1901
-
The Great Ruby, February 1901
-
With Flying Colours, 22 December 1900
-
The Absent Minded Beggar, November 1900
-
The War of Wealth, 29 July 1899
-
The Cotton King, 10 July 1897
-
In Sight of St. Pauls, 17 April 1897
-
Riding to Win, 13 February 1897
-
For England, 26 December 1896
-
The Derby Winner, 13 February 1896
-
The Fatal Card, 2 March 1895
-
A Sailor`s Knot, 21 May 1892
-
The Golden Ladder, 23 March 1889
-
Union Jack, 16 March 1889
-
Interference, 24 November 1928
-
The Trial of Mary Dugan, 31 March 1928
-
Give and Take, 31 July 1926
-
The Silent Witness, 31 May 1919
-
Common Clay, 10 May 1919
-
Three Faces East / The Monkey's Paw, 13 April 1919
-
Madame X, 5 April 1919
-
The Great Divide, 8 March 1919
-
The Man Who Came Back, 29 June 1918
-
The Bird of Paradise, 22 December 1917
-
Grumpy, 16 June 1917
-
The Misleading Lady, 10 February 1917
-
Get Rich Quick Wallingford, 14 October 1916
-
It Pays to Advertise, 23 September 1916
-
Too Many Cooks , 16 September 1916
-
Get Rich Quick Wallingford, 6 May 1916
-
The Boomerang, 22 April 1916
-
It Pays to Advertise, 29 January 1916
-
Potash and Perlmutter, 10 July 1915
-
Broadway Jones, 24 April 1915
-
The Seven Keys to Baldpate, 13 March 1915
-
Officer 666, 27 June 1914
-
Never Say Die, 16 May 1914
-
Excuse me!, 11 October 1913
-
Get Rich Quick Wallingford, 20 November 1912
-
Helen's Babies, 20 July 1877
-
Romeo and Juliet, 10 August 1876
-
Humpty Dumpty, Who Sat on a Wall or Harlequin King Arthur, 28 December 1874
-
Oliver Twist, 11 May 1874
-
The Irish Tiger / The New Magdalen, 7 March 1874
-
Twinkle, Twinkle, Little Star or Harlequin Jack Frost and the Old Woman who Lived in a Shoe, 2 January 1874
-
Riquet with the Tuft; or, Harequin Old Mother Shipton, The Silver Champions and Darwin's Genealogical Tree, 26 December 1872
-
Quite Alone, 7 November 1872
-
Papillionetta or, The Prince's Little Feat and the Big Beatle Crusher, 10 April 1871
-
Goody Two Shoes and Little Boy Blue, 26 December 1870
-
The house that Jack Built or, Harlequin Progress and the Loves, Laughs, laments and Labours of Jack Melbourne and Little Victoria, 27 December 1869
-
Catching a Conspirator, 28 August 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 7 August 1869
-
Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, 25 March 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 6 March 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 1 February 1869
-
Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, 24 December 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 12 December 1868
-
Catching a Conspirator, 28 November 1868
-
Christine Johnstone, the Snowdrop of the North, 21 November 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 18 August 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 25 May 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 11 April 1868
-
Tom Tom the Piper's Son and Mary Mary Quite Contrary, 26 December 1867
-
Gulliver on his travels or, Harlequin and Father Christmas and the fairy queen of the silver acacias, 26 December 1866
-
The Mikado, 16 December 1932
-
The Yeomen of the Guard, 15 December 1932
-
Iolanthe, 14 December 1932
-
The Gondoliers, 13 December 1932
-
Princess Ida, 10 December 1932
-
The Gondoliers, 10 November 1932
-
H.M.S. Pinafore / Cox and Box, 5 November 1932
-
The Mikado, 29 October 1932
-
Patience, 27 October 1932
-
The Pirates of Penzance / Trial by Jury, 22 October 1932
-
The Yeomen of the Guard, 15 October 1932
-
Iolanthe, 8 October 1932
-
Ruddigore, 1 October 1932
-
The Gondoliers, 26 September 1932
-
Patience, 25 July 1931
-
H.M.S. Pinafore / Cox and Box, 11 July 1931
-
The Yeomen of the Guard, 27 June 1931
-
The Mikado, 30 May 1931
-
Iolanthe, 16 May 1931
-
The Pirates of Penzance / Trial by Jury, 2 May 1931
-
The Gondoliers, 11 April 1931
-
The Yeomen of the Guard, 1 August 1922
-
The Yeomen of the Guard, 5 January 1922
-
The Mikado, or The Town of Titipu, 20 February 1886
-
Iolanthe or, The Peer and the Peri, 25 November 1882
J R Greville
- Actor, Director, Entrepreneur, Lessee, Producer, Stage Director, Stage Manager
-
Human Nature, 23 October 1886
-
Russia As It Is, 6 May 1882
-
Youth, 28 April 1882
-
Whittington and His Cat, 24 December 1881
-
Sinbad the Sailor; or The Pet of the Pearl; The Old Man of the Sea; and the Dwarf of the Diamond Valley, 27 December 1880
-
The Babes in the Wood, 26 December 1879
-
The Life and Death of King Richard III, 12 August 1879
-
All for Gold, or Fifty Millions of Money, 6 June 1877
-
The Shaughraun, 29 May 1875
-
Humpty Dumpty, Who Sat on a Wall or Harlequin King Arthur, 28 December 1874
-
Oliver Twist, 11 May 1874
-
Twinkle, Twinkle, Little Star or Harlequin Jack Frost and the Old Woman who Lived in a Shoe, 2 January 1874
-
Riquet with the Tuft; or, Harequin Old Mother Shipton, The Silver Champions and Darwin's Genealogical Tree, 26 December 1872
-
Jack and The Beanstalk or Harlequin Nursery Rhymes and the Pranks of the Good Little People , 26 December 1871
-
Colonial Experience, 17 November 1871
-
Peacock's Feathers, 23 September 1871
-
Ixion or, The Man at the Wheel, 9 September 1871
-
Elfie, or the Cherry Tree Inn, 1 July 1871
-
The Octoroon / Old Gooseberry, 24 June 1871
-
Papillionetta or, The Prince's Little Feat and the Big Beatle Crusher, 10 April 1871
-
Goody Two Shoes and Little Boy Blue, 26 December 1870
-
Sun and Shadow or, Mark Stornway's Nephew, 1 October 1870
-
Milky White / Ode on Odd Fellowship / The House that Jack Built / New Tricks, 25 January 1870
-
Catching a Conspirator, 28 August 1869
-
Madame X, 24 May 1924
-
The Silent Witness, 13 March 1920
-
Bought and Paid For, 28 June 1919
-
The Silent Witness, 31 May 1919
-
Common Clay, 10 May 1919
-
Three Faces East / The Monkey's Paw, 13 April 1919
-
Madame X, 5 April 1919
-
The Great Divide, 8 March 1919
-
The Man Who Came Back, 29 June 1918
-
Within the Law, 9 March 1918
-
The Easiest Way, 2 February 1918
-
The Bird of Paradise, 22 December 1917
-
Mrs Dot, 1 December 1917
-
Good Gracious, Annabelle, 27 October 1917
-
The Misleading Lady, 10 February 1917
-
The Land of Promise, 26 August 1916
-
On Trial, 3 June 1916
-
Under Fire, 1 January 1916
-
The Man Who Stayed at Home, 26 December 1915
-
Kick In, 11 December 1915
-
The Man Who Stayed at Home, 5 June 1915
-
Monsieur Beaucaire, 12 September 1914
-
The Scarlet Pimpernel, 5 September 1914
-
Joseph and His Brethren, 14 February 1914
-
The Mikado, 16 December 1932
-
The Yeomen of the Guard, 15 December 1932
-
Iolanthe, 14 December 1932
-
The Gondoliers, 13 December 1932
-
Princess Ida, 10 December 1932
-
Dorothy, 3 December 1932
-
Lilac Time, 12 November 1932
-
H.M.S. Pinafore / Cox and Box, 5 November 1932
-
The Mikado, 29 October 1932
-
Patience, 27 October 1932
-
The Pirates of Penzance / Trial by Jury, 22 October 1932
-
The Yeomen of the Guard, 15 October 1932
-
Iolanthe, 8 October 1932
-
Ruddigore, 1 October 1932
-
Patience, 25 July 1931
-
H.M.S. Pinafore / Cox and Box, 11 July 1931
-
The Yeomen of the Guard, 27 June 1931
-
The Mikado, 30 May 1931
-
Iolanthe, 16 May 1931
-
The Pirates of Penzance / Trial by Jury, 2 May 1931
-
Lilac Time, 6 September 1930
-
The New Moon, 19 July 1930
-
A Country Girl, 5 July 1930
-
The Belle of New York, 31 May 1930
-
Madame X, 24 May 1924
-
The Silent Witness, 13 March 1920
-
Bought and Paid For, 28 June 1919
-
The Silent Witness, 31 May 1919
-
Common Clay, 10 May 1919
-
Three Faces East / The Monkey's Paw, 13 April 1919
-
Madame X, 5 April 1919
-
The Great Divide, 8 March 1919
-
The Man Who Came Back, 29 June 1918
-
Within the Law, 9 March 1918
-
The Easiest Way, 2 February 1918
-
The Bird of Paradise, 22 December 1917
-
Madame X, 5 July 1916
-
Madame X, 6 November 1915
-
Bought and Paid For, 30 October 1915
-
Within the Law, 23 October 1915
-
Nobody's Widow, 9 October 1915
-
Under Cover, 28 August 1915
-
Bought and Paid For, 26 December 1914
-
The Chorus Lady, 12 December 1914
-
The Yellow Ticket, 21 November 1914
-
Within the Law, 31 October 1914
-
Madame X, 28 March 1914
-
Within the Law, 17 May 1913
-
The Mikado, 16 December 1932
-
The Yeomen of the Guard, 15 December 1932
-
Iolanthe, 14 December 1932
-
The Gondoliers, 13 December 1932
-
Dorothy, 3 December 1932
-
Lilac Time, 12 November 1932
-
The Gondoliers, 10 November 1932
-
The Mikado, 29 October 1932
-
Patience, 27 October 1932
-
The Pirates of Penzance / Trial by Jury, 22 October 1932
-
Iolanthe, 8 October 1932
-
Ruddigore, 1 October 1932
-
The Gondoliers, 26 September 1932
-
Patience, 25 July 1931
-
The Mikado, 30 May 1931
-
Iolanthe, 16 May 1931
-
The Pirates of Penzance / Trial by Jury, 2 May 1931
-
The Gondoliers, 11 April 1931
-
Lilac Time, 6 September 1930
-
The New Moon, 19 July 1930
-
A Country Girl, 5 July 1930
-
The Belle of New York, 31 May 1930
-
The Merry Widow, 2 January 1926
-
The Argyle Case, 17 October 1914
-
The White Heather, 28 April 1907
-
Revenge, 30 March 1907
-
The Prodigal Son, 17 February 1906
-
With Flying Colours, 25 November 1905
-
The Best of Friends, 22 April 1905
-
Flood Tide, 5 March 1904
-
A Desperate Game, 26 December 1903
-
The Great Millionaire, 2 November 1903
-
Going the Pace, 25 July 1903
-
The Prodigal Daughter, 12 April 1903
-
Women and Wine, 11 May 1901
-
With Flying Colours, 22 December 1900
-
The Absent Minded Beggar, November 1900
-
The Cotton King, 10 July 1897
-
A Life of Pleasure, 5 June 1897
-
In Sight of St. Pauls, 17 April 1897
-
For England, 26 December 1896
-
The Derby Winner, 13 February 1896
-
The Fatal Card, 2 March 1895
-
Aladdin, being an Old Version of a New Lamp , 26 December 1890
-
Youth, 28 April 1882
-
The Irish Tiger / The New Magdalen, 7 March 1874
John Brunton
- Designer, Scenic Artist
-
The White Heather, 28 April 1907
-
The Prodigal Son, 17 February 1906
-
With Flying Colours, 25 November 1905
-
Flood Tide, 5 March 1904
-
A Desperate Game, 26 December 1903
-
The Great Millionaire, 2 November 1903
-
The Breaking of the Drought, 8 June 1903
-
The Price of Peace, 9 May 1903
-
The Great Ruby, February 1901
-
With Flying Colours, 22 December 1900
-
The Cotton King, 10 July 1897
-
In Sight of St. Pauls, 17 April 1897
-
For England, 26 December 1896
-
The Derby Winner, 13 February 1896
-
Sinbad the Sailor, Little Jack Horner and the Old Man of the Sea, 26 December 1893
-
Babes in the Woods or Bold Robin Hood and his Foresters Good, 24 December 1892
-
Dick Whittington and His Cat or Harlequin the Demon Rat and the Good Fairies of the Bells, 26 December 1891
-
Aladdin, being an Old Version of a New Lamp , 26 December 1890
-
Cinderella, Gold and Silver and the Little Glass Slipper, 26 December 1889
-
Led Astray, 28 October 1889
-
Sinbad the Sailor or, Tinbad the Tailor and the Wicked Ogre and the Good Fairy Submarine, 26 December 1888
-
Jack the Giant Killer and Little Bo Peep or, Harlequin King Arthur and the Enchanted Sheep, 24 December 1887
-
Robinson Crusoe, 26 December 1886
-
Humpty Dumpty, Who Sat on a Wall or Harlequin King Arthur, 28 December 1874
-
Oliver Twist, 11 May 1874
-
Riquet with the Tuft; or, Harequin Old Mother Shipton, The Silver Champions and Darwin's Genealogical Tree, 26 December 1872
-
Jack and The Beanstalk or Harlequin Nursery Rhymes and the Pranks of the Good Little People , 26 December 1871
-
Peacock's Feathers, 23 September 1871
-
Ixion or, The Man at the Wheel, 9 September 1871
-
A Supper Gratis or, An Impudent Intruder, 15 July 1871
-
The Octoroon / Old Gooseberry, 24 June 1871
-
Catching a Conspirator, 28 August 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 7 August 1869
-
Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, 25 March 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 6 March 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 1 February 1869
-
Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, 24 December 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 12 December 1868
-
Catching a Conspirator, 28 November 1868
-
King Arthur or, Launcelot the Loose, Gin-ever the Square, and the Knights of the Round Table and Other Furniture, 31 October 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 18 August 1868
-
Leah the Forsaken / The Bonnie Fishwife, 3 August 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 25 May 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 11 April 1868
-
What a Man May Suffer in Victoria, 31 October 1856
-
Gumtree's Ball and Soiree, 24 October 1856
-
The Mikado, 16 December 1932
-
The Yeomen of the Guard, 15 December 1932
-
Iolanthe, 14 December 1932
-
The Gondoliers, 13 December 1932
-
Princess Ida, 10 December 1932
-
Dorothy, 3 December 1932
-
Lilac Time, 12 November 1932
-
The Gondoliers, 10 November 1932
-
H.M.S. Pinafore / Cox and Box, 5 November 1932
-
The Mikado, 29 October 1932
-
Patience, 27 October 1932
-
The Pirates of Penzance / Trial by Jury, 22 October 1932
-
The Yeomen of the Guard, 15 October 1932
-
Iolanthe, 8 October 1932
-
Ruddigore, 1 October 1932
-
The Gondoliers, 26 September 1932
-
Patience, 25 July 1931
-
H.M.S. Pinafore / Cox and Box, 11 July 1931
-
The Yeomen of the Guard, 27 June 1931
-
The Mikado, 30 May 1931
-
Iolanthe, 16 May 1931
-
The Pirates of Penzance / Trial by Jury, 2 May 1931
-
The Gondoliers, 11 April 1931
-
Music in the Air, 16 September 1933
-
Waltzes from Vienna, 24 December 1932
-
Blue Roses, 13 May 1932
-
Oh Lady, Lady, 21 November 1931
-
The Merry Widow, 7 November 1931
-
Florodora, 10 October 1931
-
Dearest Enemy, 12 September 1931
-
Sons o' Guns, 31 January 1931
-
The New Moon, 19 July 1930
-
A Country Girl, 5 July 1930
-
The Belle of New York, 31 May 1930
-
Follow Through, 8 February 1930
-
Turned Up, 26 December 1929
-
Hold Everything, 2 November 1929
-
The Five-O'Clock Girl, 18 May 1929
-
Queen High, 24 December 1927
-
Frasquita, 9 July 1927
-
Katja, 18 September 1926
-
Tell Me More, 17 July 1926
-
Leave it to Jane, 5 June 1926
-
Kissing Time, 24 May 1924
-
The Cabaret Girl, 25 March 1924
-
A Night Out, 21 January 1922
-
The Mikado, 16 December 1932
-
The Yeomen of the Guard, 15 December 1932
-
Iolanthe, 14 December 1932
-
The Gondoliers, 13 December 1932
-
Princess Ida, 10 December 1932
-
Dorothy, 3 December 1932
-
Lilac Time, 12 November 1932
-
The Gondoliers, 10 November 1932
-
H.M.S. Pinafore / Cox and Box, 5 November 1932
-
The Mikado, 29 October 1932
-
Patience, 27 October 1932
-
The Pirates of Penzance / Trial by Jury, 22 October 1932
-
The Yeomen of the Guard, 15 October 1932
-
Iolanthe, 8 October 1932
-
Ruddigore, 1 October 1932
-
The Gondoliers, 26 September 1932
-
Patience, 25 July 1931
-
H.M.S. Pinafore / Cox and Box, 11 July 1931
-
The Yeomen of the Guard, 27 June 1931
-
The Mikado, 30 May 1931
-
Iolanthe, 16 May 1931
-
The Pirates of Penzance / Trial by Jury, 2 May 1931
-
The Gondoliers, 11 April 1931
Richard Stewart
- Actor, Actor-manager, Director, Lessee, Producer, Stage Manager
-
Aladdin and the Wonderful Lamp, 26 December 1894
-
Romeo and Juliet, 10 August 1876
-
The Shaughraun, 29 May 1875
-
Humpty Dumpty, Who Sat on a Wall or Harlequin King Arthur, 28 December 1874
-
The Irish Tiger / The New Magdalen, 7 March 1874
-
Twinkle, Twinkle, Little Star or Harlequin Jack Frost and the Old Woman who Lived in a Shoe, 2 January 1874
-
Riquet with the Tuft; or, Harequin Old Mother Shipton, The Silver Champions and Darwin's Genealogical Tree, 26 December 1872
-
Quite Alone, 7 November 1872
-
Papillionetta or, The Prince's Little Feat and the Big Beatle Crusher, 10 April 1871
-
Goody Two Shoes and Little Boy Blue, 26 December 1870
-
Sun and Shadow or, Mark Stornway's Nephew, 1 October 1870
-
Milky White / Ode on Odd Fellowship / The House that Jack Built / New Tricks, 25 January 1870
-
The house that Jack Built or, Harlequin Progress and the Loves, Laughs, laments and Labours of Jack Melbourne and Little Victoria, 27 December 1869
-
Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, 25 March 1869
-
Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, 24 December 1868
-
Christine Johnstone, the Snowdrop of the North, 21 November 1868
-
Leah the Forsaken / The Bonnie Fishwife, 3 August 1868
-
Catching a Conspirator, 30 September 1867
-
Catching a Conspirator, 16 September 1867
-
Catching a Conspirator, 19 June 1867
-
Gulliver on his travels or, Harlequin and Father Christmas and the fairy queen of the silver acacias, 26 December 1866
-
The Enchanted Island or Harlequin the Mysyterious Prince and the Magician Father, 24 December 1864
-
The Mikado, 16 December 1932
-
The Yeomen of the Guard, 15 December 1932
-
Iolanthe, 14 December 1932
-
The Gondoliers, 13 December 1932
-
Princess Ida, 10 December 1932
-
Dorothy, 3 December 1932
-
Lilac Time, 12 November 1932
-
The Gondoliers, 10 November 1932
-
H.M.S. Pinafore / Cox and Box, 5 November 1932
-
The Mikado, 29 October 1932
-
Patience, 27 October 1932
-
The Pirates of Penzance / Trial by Jury, 22 October 1932
-
The Yeomen of the Guard, 15 October 1932
-
Iolanthe, 8 October 1932
-
The Gondoliers, 26 September 1932
-
Patience, 25 July 1931
-
H.M.S. Pinafore / Cox and Box, 11 July 1931
-
The Yeomen of the Guard, 27 June 1931
-
The Mikado, 30 May 1931
-
Iolanthe, 16 May 1931
-
The Pirates of Penzance / Trial by Jury, 2 May 1931
-
The Gondoliers, 11 April 1931
-
Russia As It Is, 6 May 1882
-
Riquet with the Tuft; or, Harequin Old Mother Shipton, The Silver Champions and Darwin's Genealogical Tree, 26 December 1872
-
Quite Alone, 7 November 1872
-
Jack and The Beanstalk or Harlequin Nursery Rhymes and the Pranks of the Good Little People , 26 December 1871
-
The house that Jack Built or, Harlequin Progress and the Loves, Laughs, laments and Labours of Jack Melbourne and Little Victoria, 27 December 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 7 August 1869
-
Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, 25 March 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 6 March 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 1 February 1869
-
Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, 24 December 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 12 December 1868
-
King Arthur or, Launcelot the Loose, Gin-ever the Square, and the Knights of the Round Table and Other Furniture, 31 October 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 18 August 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 25 May 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 11 April 1868
-
Tom Tom the Piper's Son and Mary Mary Quite Contrary, 26 December 1867
-
Gulliver on his travels or, Harlequin and Father Christmas and the fairy queen of the silver acacias, 26 December 1866
-
The Gladiator of Ravenna, 1 July 1865
-
The Enchanted Island or Harlequin the Mysyterious Prince and the Magician Father, 24 December 1864
-
A Night at Emerald Hill, 12 June 1863
-
Harlequin Arabian Nights or, The Fast Young Turk and The Pretty Russian, 26 December 1862
-
The White Heather, 28 April 1907
-
Revenge, 30 March 1907
-
The Prodigal Son, 17 February 1906
-
With Flying Colours, 25 November 1905
-
A Desperate Game, 26 December 1903
-
Going the Pace, 25 July 1903
-
The Breaking of the Drought, 8 June 1903
-
In London Town, 11 June 1901
-
The Great Ruby, February 1901
-
With Flying Colours, 22 December 1900
-
The Absent Minded Beggar, November 1900
-
The Cotton King, 10 July 1897
-
In Sight of St. Pauls, 17 April 1897
-
Riding to Win, 13 February 1897
-
For England, 26 December 1896
-
The Derby Winner, 13 February 1896
-
The Fatal Card, 2 March 1895
-
The Trumpet Call, 2 July 1892
-
A Sailor`s Knot, 21 May 1892
-
Union Jack, 16 March 1889
Victor Tatnall
- Actor, Producer, Stage Manager
-
Leave it to Jane, 5 June 1926
-
Kissing Time, 24 May 1924
-
The Cabaret Girl, 25 March 1924
-
Tilly of Bloomsbury, 20 March 1920
-
The Silent Witness, 31 May 1919
-
Common Clay, 10 May 1919
-
Three Faces East / The Monkey's Paw, 13 April 1919
-
Madame X, 5 April 1919
-
The Great Divide, 8 March 1919
-
The Man Who Came Back, 29 June 1918
-
Mrs Dot, 1 December 1917
-
Good Gracious, Annabelle, 27 October 1917
-
Penelope, 5 May 1917
-
The Marriage of Kitty, 7 April 1917
-
The Woman, 6 January 1917
-
Under Fire, 1 January 1916
-
Potash and Perlmutter, 10 July 1915
-
Milestones, 31 January 1914
-
Diplomacy, 10 January 1914
-
Milestones, 22 March 1913
-
Othello, 14 March 1913
-
The Merchant of Venice, 11 March 1913
-
A Midsummer Night's Dream, 8 February 1913
-
The Taming of the Shrew, 1 February 1913
-
Antony and Cleopatra, 26 December 1912
-
Antony and Cleopatra (1), 26 December 1912
-
Othello, 1 June 1912
-
Oscar Asche and Lily Brayton - for copying, 1912
-
The Merchant of Venice, 29 October 1889
-
The Merchant of Venice, 19 October 1889
-
The Tempest, 26 February 1887
-
The Life and Death of King Richard III, 12 August 1879
-
The Merry Wives of Windsor, 6 October 1877
-
Hamlet, 22 July 1868
-
Antony and Cleopatra, 8 October 1867
-
Twelfth Night, 6 April 1866
-
Measure for Measure, 22 October 1860
-
Love's Labour's Lost, 9 April 1860
-
Two Gentlemen of Verona, 6 June 1856
G H Smith
- Adminstrator, Business Manager
-
A Little Bit of Fluff, 2 June 1917
-
London Pride, 19 May 1917
-
The Woman, 6 January 1917
-
Too Many Cooks , 16 September 1916
-
The Land of Promise, 26 August 1916
-
Under Fire, 1 January 1916
-
Monsieur Beaucaire, 12 September 1914
-
The Scarlet Pimpernel, 5 September 1914
-
Officer 666, 27 June 1914
-
Dorothy, 9 May 1914
-
Joseph and His Brethren, 14 February 1914
-
Man and Superman, 29 January 1914
-
Diplomacy, 10 January 1914
-
Monsieur Beaucaire, 27 December 1913
-
A Butterfly on the Wheel , 25 October 1913
-
A Marriage of Convenience, 25 October 1913
-
The Merchant of Venice, 11 March 1913
-
The Taming of the Shrew, 1 February 1913
-
The Whip, 19 October 1912
-
Lightnin', 29 November 1924
-
Potash and Perlmutter, 23 November 1918
-
The High Cost of Loving, 9 November 1918
-
Daddy Long Legs, 18 May 1918
-
The Bird of Paradise, 22 December 1917
-
Daddy Long Legs, 28 July 1917
-
Kick In, 11 December 1915
-
The Argyle Case, 17 October 1914
-
Grand Complimentary Benefit for Mr George Darrell, 23 August 1887
-
Struck Oil, 22 August 1887
-
Eureka, 13 August 1887
-
Rip Van Winkle, 6 August 1887
-
The Streets of London, 23 July 1887
-
Shadows of a Great City and The Chinese Question, 16 July 1887
-
Struck Oil, 25 June 1887
-
Aladdin or Harlequin, the Wonderful Ring, the Magical Lamp and the Pretty Young Maiden who Loved a Great Scamp ..., 26 December 1883
-
Struck Oil, 1 August 1874
-
Oliver Twist, 11 May 1874
-
Riquet with the Tuft; or, Harequin Old Mother Shipton, The Silver Champions and Darwin's Genealogical Tree, 26 December 1872
-
Peacock's Feathers, 23 September 1871
-
Ixion or, The Man at the Wheel, 9 September 1871
-
Elfie, or the Cherry Tree Inn, 1 July 1871
-
Papillionetta or, The Prince's Little Feat and the Big Beatle Crusher, 10 April 1871
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 7 August 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 6 March 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 1 February 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 12 December 1868
-
Christine Johnstone, the Snowdrop of the North, 21 November 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 18 August 1868
-
Leah the Forsaken / The Bonnie Fishwife, 3 August 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 25 May 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 11 April 1868
-
The Gladiator of Ravenna, 1 July 1865
-
Turtle Soup, 1 May 1865
-
The Mikado, 16 December 1932
-
The Yeomen of the Guard, 15 December 1932
-
Iolanthe, 14 December 1932
-
The Gondoliers, 13 December 1932
-
Lilac Time, 12 November 1932
-
The Gondoliers, 10 November 1932
-
H.M.S. Pinafore / Cox and Box, 5 November 1932
-
The Pirates of Penzance / Trial by Jury, 22 October 1932
-
The Yeomen of the Guard, 15 October 1932
-
Ruddigore, 1 October 1932
-
The Gondoliers, 26 September 1932
-
H.M.S. Pinafore / Cox and Box, 11 July 1931
-
The Yeomen of the Guard, 27 June 1931
-
The Pirates of Penzance / Trial by Jury, 2 May 1931
-
The Gondoliers, 11 April 1931
-
The Cingalee, 15 November 1930
-
The Mikado, 16 December 1932
-
The Yeomen of the Guard, 15 December 1932
-
Iolanthe, 14 December 1932
-
The Gondoliers, 13 December 1932
-
Princess Ida, 10 December 1932
-
Lilac Time, 12 November 1932
-
The Gondoliers, 10 November 1932
-
H.M.S. Pinafore / Cox and Box, 5 November 1932
-
The Mikado, 29 October 1932
-
Patience, 27 October 1932
-
The Pirates of Penzance / Trial by Jury, 22 October 1932
-
The Yeomen of the Guard, 15 October 1932
-
Iolanthe, 8 October 1932
-
Ruddigore, 1 October 1932
-
The Gondoliers, 26 September 1932
-
Patience, 25 July 1931
-
The Life and Death of King Richard III, 12 August 1879
-
All for Gold, or Fifty Millions of Money, 6 June 1877
-
Humpty Dumpty, Who Sat on a Wall or Harlequin King Arthur, 28 December 1874
-
Colonial Experience, 17 November 1871
-
Papillionetta or, The Prince's Little Feat and the Big Beatle Crusher, 10 April 1871
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 7 August 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 6 March 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 1 February 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 12 December 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 18 August 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 25 May 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 11 April 1868
-
Tom Tom the Piper's Son and Mary Mary Quite Contrary, 26 December 1867
-
The Gladiator of Ravenna, 1 July 1865
-
Ali Baba, or The Thirty-Nine Thieves, 3 September 1864
-
A Broil at the Cafe, 22 September 1860
-
Our Miss Gibbs, 15 April 1933
-
Lilac Time, 12 November 1932
-
Mr. Cinders, 11 October 1930
-
Lilac Time, 6 September 1930
-
Katinka, 19 May 1930
-
The Merry Widow, 26 April 1930
-
The Maid of the Mountains, 14 March 1930
-
Lilac Time, 9 January 1926
-
Sally, 15 September 1923
-
Katinka, 2 July 1921
-
The Maid of the Mountains, 22 January 1921
-
The Boy, 23 October 1920
-
Going Up, 28 May 1920
-
Tilly of Bloomsbury, 20 March 1920
-
A Little Bit of Fluff, 2 June 1917
-
Fair and Warmer, 17 March 1917
-
The White Heather, 28 April 1907
-
Revenge, 30 March 1907
-
The Prodigal Son, 17 February 1906
-
With Flying Colours, 25 November 1905
-
The Best of Friends, 22 April 1905
-
Flood Tide, 5 March 1904
-
A Desperate Game, 26 December 1903
-
The Great Millionaire, 2 November 1903
-
Going the Pace, 25 July 1903
-
The Breaking of the Drought, 8 June 1903
-
The Prodigal Daughter, 12 April 1903
-
In London Town, 11 June 1901
-
With Flying Colours, 22 December 1900
-
The Absent Minded Beggar, November 1900
-
A Life of Pleasure, 5 June 1897
-
The Trumpet Call, 2 July 1892
-
Humpty Dumpty, Who Sat on a Wall or Harlequin King Arthur, 28 December 1874
-
Riquet with the Tuft; or, Harequin Old Mother Shipton, The Silver Champions and Darwin's Genealogical Tree, 26 December 1872
-
Jack and The Beanstalk or Harlequin Nursery Rhymes and the Pranks of the Good Little People , 26 December 1871
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 7 August 1869
-
Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, 25 March 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 6 March 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 1 February 1869
-
Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, 24 December 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 12 December 1868
-
King Arthur or, Launcelot the Loose, Gin-ever the Square, and the Knights of the Round Table and Other Furniture, 31 October 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 18 August 1868
-
Leah the Forsaken / The Bonnie Fishwife, 3 August 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 25 May 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 11 April 1868
-
Tom Tom the Piper's Son and Mary Mary Quite Contrary, 26 December 1867
-
The Yellow Dwarf or The King Of the Golden Mines, 25 April 1859
-
Revenge, 30 March 1907
-
The Prodigal Son, 17 February 1906
-
With Flying Colours, 25 November 1905
-
The Best of Friends, 22 April 1905
-
Going the Pace, 25 July 1903
-
The Breaking of the Drought, 8 June 1903
-
The War of Wealth, 9 December 1901
-
In London Town, 11 June 1901
-
The Great Ruby, February 1901
-
With Flying Colours, 22 December 1900
-
The Absent Minded Beggar, November 1900
-
The War of Wealth, 29 July 1899
-
In Sight of St. Pauls, 17 April 1897
-
Riding to Win, 13 February 1897
-
For England, 26 December 1896
-
The Derby Winner, 13 February 1896
-
Music in the Air, 16 September 1933
-
Waltzes from Vienna, 24 December 1932
-
Blue Roses, 13 May 1932
-
The Maid of the Mountains, 5 December 1931
-
Oh Lady, Lady, 21 November 1931
-
The Merry Widow, 7 November 1931
-
Florodora, 10 October 1931
-
Dearest Enemy, 12 September 1931
-
The Cingalee, 15 November 1930
-
Follow Through, 8 February 1930
-
Turned Up, 26 December 1929
-
The Five-O'Clock Girl, 18 May 1929
-
This Year of Grace, 30 March 1929
-
The Marionettes, 23 February 1929
-
The Girl Friend, 28 April 1928
Fred Coape
- Actor, Actor and Singer
-
Katinka, 19 May 1930
-
The Merry Widow, 26 April 1930
-
The Maid of the Mountains, 14 March 1930
-
The Maid of the Mountains, 22 January 1921
-
The Boy, 23 October 1920
-
Tilly of Bloomsbury, 20 March 1920
-
Bought and Paid For, 28 June 1919
-
The Silent Witness, 31 May 1919
-
Three Faces East / The Monkey's Paw, 13 April 1919
-
Madame X, 5 April 1919
-
The Great Divide, 8 March 1919
-
A Royal Divorce, 28 October 1916
-
Monsieur Beaucaire, 12 September 1914
-
The Scarlet Pimpernel, 5 September 1914
-
A Royal Divorce, 1 August 1914
-
The Quaker Girl, 22 July 1933
-
Hold My Hand, 17 June 1933
-
Our Miss Gibbs, 15 April 1933
-
Blue Roses, 13 May 1932
-
Oh Lady, Lady, 21 November 1931
-
The Merry Widow, 7 November 1931
-
Florodora, 10 October 1931
-
Sons o' Guns, 31 January 1931
-
Lilac Time, 6 September 1930
-
The New Moon, 19 July 1930
-
A Country Girl, 5 July 1930
-
The Belle of New York, 31 May 1930
-
Turned Up, 26 December 1929
-
The Five-O'Clock Girl, 18 May 1929
-
The Girl Friend, 28 April 1928
-
Madame X, 24 May 1924
-
The Silent Witness, 13 March 1920
-
Bought and Paid For, 28 June 1919
-
The Silent Witness, 31 May 1919
-
Common Clay, 10 May 1919
-
Three Faces East / The Monkey's Paw, 13 April 1919
-
Madame X, 5 April 1919
-
The Great Divide, 8 March 1919
-
The Man Who Came Back, 29 June 1918
-
Within the Law, 9 March 1918
-
The Easiest Way, 2 February 1918
-
The Bird of Paradise, 22 December 1917
-
Outcast, 8 September 1917
-
The Misleading Lady, 10 February 1917
-
Under Fire, 1 January 1916
-
Brown Sugar, 30 October 1926
-
The Bat, 6 May 1922
-
Tilly of Bloomsbury, 20 March 1920
-
A Tailor-Made Man, 5 July 1919
-
Nothing But The Truth, 26 December 1918
-
The Rainbow, 13 April 1918
-
Under Fire, 1 January 1916
-
The Scarlet Pimpernel, 5 September 1914
-
A Royal Divorce, 1 August 1914
-
The Lion and the Mouse, 7 February 1914
-
Milestones, 31 January 1914
-
Man and Superman, 29 January 1914
-
Diplomacy, 10 January 1914
-
Man and Superman, 3 May 1913
-
Milestones, 22 March 1913
C Vincent
- Actor, Lessee, Stage Manager
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 7 August 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 6 March 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 1 February 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 12 December 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 18 August 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 25 May 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 11 April 1868
-
Tom Tom the Piper's Son and Mary Mary Quite Contrary, 26 December 1867
-
An Actor Out of Luck, 29 October 1867
-
Catching a Conspirator, 30 September 1867
-
Catching a Conspirator, 16 September 1867
-
Catching a Conspirator, 19 June 1867
-
Faust D.D.D or, The Demon the Doctor and the Damsel, 8 June 1867
-
Francesca Vasari, a Tragedy, 17 April 1867
-
Ivanhoe, or The Trial by Battle! / My heart's in the Highlands, 30 August 1866
-
The Command to Love, 25 March 1933
-
Lightnin', 29 November 1924
-
The Bat, 6 May 1922
-
The Sign on the Door, 5 November 1921
-
Lightnin', 15 August 1919
-
Nothing But The Truth, 26 December 1918
-
Daddy Long Legs, 18 May 1918
-
Outcast, 11 May 1918
-
The Willow Tree, 27 April 1918
-
The Rainbow, 13 April 1918
-
Outcast, 8 September 1917
-
Under Fire, 1 January 1916
-
Kick In, 11 December 1915
-
Lucky Durham, 11 March 1911
-
Bitter Sweet, 26 March 1932
-
The Chocolate Soldier, 20 February 1932
-
The Merry Widow, 7 November 1931
-
Florodora, 10 October 1931
-
Dearest Enemy, 12 September 1931
-
The Duchess of Dantzic, 22 August 1931
-
Lilac Time, 6 September 1930
-
The New Moon, 19 July 1930
-
Katinka, 19 May 1930
-
The Merry Widow, 26 April 1930
-
Frasquita, 9 July 1927
-
Wildflower, 27 November 1926
-
Lilac Time, 9 January 1926
-
The Merry Widow, 2 January 1926
-
The Maid of the Mountains, 4 November 1933
-
Music in the Air, 16 September 1933
-
Waltzes from Vienna, 24 December 1932
-
Bitter Sweet, 26 March 1932
-
The Chocolate Soldier, 20 February 1932
-
The Maid of the Mountains, 5 December 1931
-
Oh Lady, Lady, 21 November 1931
-
Florodora, 10 October 1931
-
Dearest Enemy, 12 September 1931
-
The Duchess of Dantzic, 22 August 1931
-
Lilac Time, 6 September 1930
-
The New Moon, 19 July 1930
-
A Country Girl, 5 July 1930
-
The Belle of New York, 31 May 1930
-
The Quaker Girl, 22 July 1933
-
Hold My Hand, 17 June 1933
-
Our Miss Gibbs, 15 April 1933
-
Blue Roses, 13 May 1932
-
The Maid of the Mountains, 5 December 1931
-
Oh Lady, Lady, 21 November 1931
-
The Merry Widow, 7 November 1931
-
Florodora, 10 October 1931
-
Dearest Enemy, 12 September 1931
-
The Duchess of Dantzic, 22 August 1931
-
Lilac Time, 6 September 1930
-
The New Moon, 19 July 1930
-
A Country Girl, 5 July 1930
-
The Belle of New York, 31 May 1930
-
Get Rich Quick Wallingford, 14 October 1916
-
It Pays to Advertise, 23 September 1916
-
Too Many Cooks , 16 September 1916
-
Get Rich Quick Wallingford, 6 May 1916
-
The Boomerang, 22 April 1916
-
It Pays to Advertise, 29 January 1916
-
Potash and Perlmutter, 10 July 1915
-
Broadway Jones, 24 April 1915
-
The Seven Keys to Baldpate, 13 March 1915
-
Officer 666, 27 June 1914
-
Never Say Die, 16 May 1914
-
Excuse me!, 11 October 1913
-
The Fortune Hunter, 16 August 1913
-
Get Rich Quick Wallingford, 20 November 1912
-
The Maid of the Mountains, 4 November 1933
-
Music in the Air, 16 September 1933
-
Hold My Hand, 17 June 1933
-
The Command to Love, 25 March 1933
-
Blue Roses, 13 May 1932
-
The Maid of the Mountains, 5 December 1931
-
Oh Lady, Lady, 21 November 1931
-
The Merry Widow, 7 November 1931
-
Florodora, 10 October 1931
-
Dearest Enemy, 12 September 1931
-
The Duchess of Dantzic, 22 August 1931
-
Lilac Time, 6 September 1930
-
A Country Girl, 5 July 1930
-
The Belle of New York, 31 May 1930
-
Tosca, 14 September 1932
-
Tales of Hoffman, 6 September 1932
-
La Traviata, 27 August 1932
-
Don Pasquale, 23 August 1932
-
Andrea Chenier, 10 August 1932
-
Il Trovatore, 2 August 1932
-
Barber of Seville, 27 July 1932
-
Carmen, 23 July 1932
-
Un Ballo in Maschera, 19 July 1932
-
Madam Butterfly, 14 July 1932
-
Rigoletto, 12 July 1932
-
La Boheme, 7 July 1932
-
Lucia, 5 July 1932
-
Aida, 2 July 1932
Julius Knight
- Actor, Actor-manager, Producer
-
A Royal Divorce, 28 October 1916
-
Under Fire, 21 October 1916
-
The Silver King, 3 October 1914
-
The Sign of the Cross, 19 September 1914
-
Monsieur Beaucaire, 12 September 1914
-
The Scarlett Pimpernel, 5 September 1914
-
The Scarlet Pimpernel, 5 September 1914
-
A Royal Divorce, 1 August 1914
-
The Lion and the Mouse, 7 February 1914
-
Milestones, 31 January 1914
-
Man and Superman, 29 January 1914
-
Diplomacy, 10 January 1914
-
Man and Superman, 3 May 1913
-
Milestones, 22 March 1913
-
Tom Tom the Piper's Son and Mary Mary Quite Contrary, 26 December 1867
-
An Actor Out of Luck, 29 October 1867
-
Catching a Conspirator, 30 September 1867
-
Catching a Conspirator, 16 September 1867
-
Catching a Conspirator, 19 June 1867
-
Faust D.D.D or, The Demon the Doctor and the Damsel, 8 June 1867
-
Francesca Vasari, a Tragedy, 17 April 1867
-
Ivanhoe, or The Trial by Battle! / My heart's in the Highlands, 30 August 1866
-
The Gladiator of Ravenna, 1 July 1865
-
The Enchanted Island or Harlequin the Mysyterious Prince and the Magician Father, 24 December 1864
-
Harlequin Prince Humpy Dumpy or, The Magic Eagle and The Golden Branch, 26 December 1859
-
The Yellow Dwarf or The King Of the Golden Mines, 25 April 1859
-
Port Curtis Mad, 18 October 1858
-
Rolla of Ours or, The Shameful Goings-on of the Spaniards in Peru , 19 January 1858
-
Faust D.D.D or, The Demon the Doctor and the Damsel, 8 June 1867
-
Gulliver on his travels or, Harlequin and Father Christmas and the fairy queen of the silver acacias, 26 December 1866
-
A Day at the Intercolonial Exhibition or A Shilling Day at the Intercolonial Exhabition, 24 November 1866
-
Ivanhoe, or The Trial by Battle! / My heart's in the Highlands, 30 August 1866
-
Turtle Soup, 1 May 1865
-
The Enchanted Island or Harlequin the Mysyterious Prince and the Magician Father, 24 December 1864
-
Ali Baba, or The Thirty-Nine Thieves, 3 September 1864
-
A Night at Emerald Hill, 30 July 1864
-
Harlequin Valentine and Orson or, The Task of Romance and The TRicks of the Spirit of Fun, 26 December 1861
-
The Rivals [and] A Musical Melange [and] Valet de Sham, 31 October 1860
-
The Yellow Dwarf or The King Of the Golden Mines, 25 April 1859
-
Harlequin Robin Hood or, The Bold Huntsman of Sherwood and the Fairy Locallotta, 27 December 1858
-
The Conquest of Delhi, 1 February 1858
-
Harlequin Whittington and His Cat, 26 December 1857
-
The Mikado, 16 December 1932
-
The Yeomen of the Guard, 15 December 1932
-
Iolanthe, 14 December 1932
-
The Gondoliers, 13 December 1932
-
The Gondoliers, 10 November 1932
-
H.M.S. Pinafore / Cox and Box, 5 November 1932
-
The Pirates of Penzance / Trial by Jury, 22 October 1932
-
The Yeomen of the Guard, 15 October 1932
-
The Gondoliers, 26 September 1932
-
Faust, 4 August 1931
-
H.M.S. Pinafore / Cox and Box, 11 July 1931
-
The Yeomen of the Guard, 27 June 1931
-
The Pirates of Penzance / Trial by Jury, 2 May 1931
-
The Gondoliers, 11 April 1931
-
The Life and Death of King Richard III, 12 August 1879
-
All for Gold, or Fifty Millions of Money, 6 June 1877
-
Romeo and Juliet, 10 August 1876
-
Oliver Twist, 11 May 1874
-
Riquet with the Tuft; or, Harequin Old Mother Shipton, The Silver Champions and Darwin's Genealogical Tree, 26 December 1872
-
Jack and The Beanstalk or Harlequin Nursery Rhymes and the Pranks of the Good Little People , 26 December 1871
-
Peacock's Feathers, 23 September 1871
-
Ixion or, The Man at the Wheel, 9 September 1871
-
Papillionetta or, The Prince's Little Feat and the Big Beatle Crusher, 10 April 1871
-
Goody Two Shoes and Little Boy Blue, 26 December 1870
-
Sun and Shadow or, Mark Stornway's Nephew, 1 October 1870
-
Milky White / Ode on Odd Fellowship / The House that Jack Built / New Tricks, 25 January 1870
-
The house that Jack Built or, Harlequin Progress and the Loves, Laughs, laments and Labours of Jack Melbourne and Little Victoria, 27 December 1869
-
Leah the Forsaken / The Bonnie Fishwife, 3 August 1868
-
Riquet with the Tuft; or, Harequin Old Mother Shipton, The Silver Champions and Darwin's Genealogical Tree, 26 December 1872
-
Catching a Conspirator, 28 August 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 7 August 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 6 March 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 1 February 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 12 December 1868
-
Catching a Conspirator, 28 November 1868
-
King Arthur or, Launcelot the Loose, Gin-ever the Square, and the Knights of the Round Table and Other Furniture, 31 October 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 18 August 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 25 May 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 11 April 1868
-
Tom Tom the Piper's Son and Mary Mary Quite Contrary, 26 December 1867
-
A Day at the Intercolonial Exhibition or A Shilling Day at the Intercolonial Exhabition, 24 November 1866
-
Ali Baba, or The Thirty-Nine Thieves, 3 September 1864
-
The Maid of the Mountains, 4 November 1933
-
Lilac Time, 12 November 1932
-
The Maid of the Mountains, 5 December 1931
-
The Merry Widow, 7 November 1931
-
The Duchess of Dantzic, 22 August 1931
-
The House That Jack Built, 20 December 1930
-
Lilac Time, 6 September 1930
-
The Merry Widow, 26 April 1930
-
The Maid of the Mountains, 14 March 1930
-
Lilac Time, 9 January 1926
-
The Merry Widow, 2 January 1926
-
The Maid of the Mountains, 22 January 1921
-
The Boy, 23 October 1920
-
Kissing Time, 31 January 1920
-
Lightnin', 15 August 1919
-
London Pride, 19 May 1917
-
Get Rich Quick Wallingford, 14 October 1916
-
Too Many Cooks , 16 September 1916
-
Get Rich Quick Wallingford, 6 May 1916
-
Stop Thief, 4 December 1915
-
Potash and Perlmutter, 10 July 1915
-
Broadway Jones, 24 April 1915
-
The Seven Keys to Baldpate, 13 March 1915
-
Joseph and His Brethren, 14 February 1914
-
Excuse me!, 11 October 1913
-
Get Rich Quick Wallingford, 20 November 1912
-
The House of Temperley, 3 March 1912
-
The Derby Winner, 13 February 1896
-
The Sunny South, 19 November 1887
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 7 August 1869
-
Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, 25 March 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 6 March 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 1 February 1869
-
Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, 24 December 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 12 December 1868
-
King Arthur or, Launcelot the Loose, Gin-ever the Square, and the Knights of the Round Table and Other Furniture, 31 October 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 18 August 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 25 May 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 11 April 1868
-
Tom Tom the Piper's Son and Mary Mary Quite Contrary, 26 December 1867
Frederick Coppin
- Composer, Mechanist, Music Adaptor, Musical Advisor, Musical Arranger, Musical Director
-
Sinbad the Sailor; or The Pet of the Pearl; The Old Man of the Sea; and the Dwarf of the Diamond Valley, 27 December 1880
-
The Babes in the Wood, 26 December 1879
-
The Shaughraun, 29 May 1875
-
Humpty Dumpty, Who Sat on a Wall or Harlequin King Arthur, 28 December 1874
-
Riquet with the Tuft; or, Harequin Old Mother Shipton, The Silver Champions and Darwin's Genealogical Tree, 26 December 1872
-
Quite Alone, 7 November 1872
-
Jack and The Beanstalk or Harlequin Nursery Rhymes and the Pranks of the Good Little People , 26 December 1871
-
Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, 25 March 1869
-
Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, 24 December 1868
-
King Arthur or, Launcelot the Loose, Gin-ever the Square, and the Knights of the Round Table and Other Furniture, 31 October 1868
-
The Yellow Dwarf or The King Of the Golden Mines, 25 April 1859
-
Harlequin Robin Hood or, The Bold Huntsman of Sherwood and the Fairy Locallotta, 27 December 1858
-
Harlequin Whittington and His Cat, 26 December 1857
-
Hold My Hand, 17 June 1933
-
Our Miss Gibbs, 15 April 1933
-
Sons o' Guns, 31 January 1931
-
Dracula, 20 July 1929
-
The Marionettes, 23 February 1929
-
Victory, 26 January 1929
-
Other Men's Wives , 22 December 1928
-
The Trial of Mary Dugan, 31 March 1928
-
Is Zat So?, 16 October 1926
-
Lightnin', 15 August 1919
-
It Pays to Advertise, 23 September 1916
-
Too Many Cooks , 16 September 1916
-
Under Fire, 1 January 1916
Alfred Dampier
- Actor, Adaptor, Director, Lessee, Playwright, Stage Director, Stage Manager
-
Pluck, or A Story of £50,000, 7 September 1883
-
Russia As It Is, 6 May 1882
-
Only a Fool, 12 February 1880
-
The Babes in the Wood, 26 December 1879
-
The Life and Death of King Richard III, 12 August 1879
-
Helen's Babies, 20 July 1877
-
All for Gold, or Fifty Millions of Money, 6 June 1877
-
Romeo and Juliet, 10 August 1876
-
The Shaughraun, 29 May 1875
-
Humpty Dumpty, Who Sat on a Wall or Harlequin King Arthur, 28 December 1874
-
Eugene Aram, 29 July 1874
-
Oliver Twist, 11 May 1874
-
Faust and Marguerite, 20 September 1873
-
The Cingalee, 15 November 1930
-
Mr. Cinders, 11 October 1930
-
Katinka, 19 May 1930
-
The Merry Widow, 26 April 1930
-
The Maid of the Mountains, 14 March 1930
-
Follow Through, 8 February 1930
-
Turned Up, 26 December 1929
-
Hold Everything, 2 November 1929
-
The Five-O'Clock Girl, 18 May 1929
-
The Ringer, 17 November 1928
-
The Terror, 28 January 1928
-
Brown Sugar, 30 October 1926
-
Sally, 15 September 1923
-
Brewster's Millions, 26 October 1929
-
The Terror, 21 November 1928
-
The Silent House, 22 September 1928
-
The Terror, 28 January 1928
-
Is Zat So?, 16 October 1926
-
A Tailor-Made Man, 5 July 1919
-
The Woman, 6 January 1917
-
Under Fire, 1 January 1916
-
Stop Thief, 4 December 1915
-
A Pair of Sixes, 13 November 1915
-
Lucky Durham, 11 March 1911
-
The Fatal Wedding, 17 March 1906
-
The Fatal Wedding Tour, 17 March 1906
-
Sinbad the Sailor or the Fairy of the Diamond Valley, 26 December 1904
-
Riquet with the Tuft; or, Harequin Old Mother Shipton, The Silver Champions and Darwin's Genealogical Tree, 26 December 1872
-
Quite Alone, 7 November 1872
-
Jack and The Beanstalk or Harlequin Nursery Rhymes and the Pranks of the Good Little People , 26 December 1871
-
Colonial Experience, 17 November 1871
-
Peacock's Feathers, 23 September 1871
-
Ixion or, The Man at the Wheel, 9 September 1871
-
Sun and Shadow or, Mark Stornway's Nephew, 1 October 1870
-
Gulliver on his travels or, Harlequin and Father Christmas and the fairy queen of the silver acacias, 26 December 1866
-
The Enchanted Island or Harlequin the Mysyterious Prince and the Magician Father, 24 December 1864
-
Harlequin Prince Humpy Dumpy or, The Magic Eagle and The Golden Branch, 26 December 1859
-
Harlequin Robin Hood or, The Bold Huntsman of Sherwood and the Fairy Locallotta, 27 December 1858
-
Harlequin Whittington and His Cat, 26 December 1857
-
Union Jack, 16 March 1889
-
Aladdin or Harlequin, the Wonderful Ring, the Magical Lamp and the Pretty Young Maiden who Loved a Great Scamp ..., 26 December 1883
-
The Shaughraun, 29 May 1875
-
Humpty Dumpty, Who Sat on a Wall or Harlequin King Arthur, 28 December 1874
-
Oliver Twist, 11 May 1874
-
The Irish Tiger / The New Magdalen, 7 March 1874
-
Twinkle, Twinkle, Little Star or Harlequin Jack Frost and the Old Woman who Lived in a Shoe, 2 January 1874
-
Riquet with the Tuft; or, Harequin Old Mother Shipton, The Silver Champions and Darwin's Genealogical Tree, 26 December 1872
-
Jack and The Beanstalk or Harlequin Nursery Rhymes and the Pranks of the Good Little People , 26 December 1871
-
Ixion or, The Man at the Wheel, 9 September 1871
-
Elfie, or the Cherry Tree Inn, 1 July 1871
-
The Octoroon / Old Gooseberry, 24 June 1871
-
Milky White / Ode on Odd Fellowship / The House that Jack Built / New Tricks, 25 January 1870
-
The Silent Witness, 31 May 1919
-
Common Clay, 10 May 1919
-
Three Faces East / The Monkey's Paw, 13 April 1919
-
Madame X, 5 April 1919
-
The Great Divide, 8 March 1919
-
The Man Who Came Back, 29 June 1918
-
The Bird of Paradise, 22 December 1917
-
Too Many Cooks , 16 September 1916
-
Stop Thief, 4 December 1915
-
Broadway Jones, 24 April 1915
-
The Seven Keys to Baldpate, 13 March 1915
-
Officer 666, 27 June 1914
-
Excuse me!, 11 October 1913
E W Morrison
- Actor, Director, Producer
-
The Silent Witness, 31 May 1919
-
Common Clay, 10 May 1919
-
Three Faces East / The Monkey's Paw, 13 April 1919
-
Madame X, 5 April 1919
-
The Great Divide, 8 March 1919
-
The Man Who Came Back, 29 June 1918
-
Outcast, 11 May 1918
-
Outcast, 8 September 1917
-
Madame X, 6 November 1915
-
Within the Law, 23 October 1915
-
Within the Law, 31 October 1914
-
Madame X, 28 March 1914
-
Within the Law, 17 May 1913
-
The Quaker Girl, 22 July 1933
-
Hold My Hand, 17 June 1933
-
Our Miss Gibbs, 15 April 1933
-
Blue Roses, 13 May 1932
-
The Maid of the Mountains, 5 December 1931
-
Oh Lady, Lady, 21 November 1931
-
The Merry Widow, 7 November 1931
-
Florodora, 10 October 1931
-
The Duchess of Dantzic, 22 August 1931
-
Lilac Time, 6 September 1930
-
The New Moon, 19 July 1930
-
A Country Girl, 5 July 1930
-
The Belle of New York, 31 May 1930
-
Sons o' Guns, 31 January 1931
-
Hold Everything, 2 November 1929
-
The Terror, 21 November 1928
-
The Terror, 28 January 1928
-
The Bat, 6 May 1922
-
Tilly of Bloomsbury, 20 March 1920
-
A Tailor-Made Man, 5 July 1919
-
The Thirteenth Chair, 17 August 1918
-
Potash and Perlmutter, 10 July 1915
-
Within the Law, 17 May 1913
-
The Whip, 19 October 1912
-
The Great Millionaire, 2 November 1903
-
Going the Pace, 25 July 1903
-
Peacock's Feathers, 23 September 1871
-
Papillionetta or, The Prince's Little Feat and the Big Beatle Crusher, 10 April 1871
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 7 August 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 6 March 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 1 February 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 12 December 1868
-
King Arthur or, Launcelot the Loose, Gin-ever the Square, and the Knights of the Round Table and Other Furniture, 31 October 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 18 August 1868
-
Leah the Forsaken / The Bonnie Fishwife, 3 August 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 25 May 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 11 April 1868
-
Tom Tom the Piper's Son and Mary Mary Quite Contrary, 26 December 1867
-
Gulliver on his travels or, Harlequin and Father Christmas and the fairy queen of the silver acacias, 26 December 1866
Oscar Asche
- Actor, Adaptor, Playwright, Producer
-
Othello, 14 March 1913
-
The Merchant of Venice, 11 March 1913
-
A Midsummer Night's Dream, 8 February 1913
-
The Taming of the Shrew, 1 February 1913
-
Antony and Cleopatra, 26 December 1912
-
Antony and Cleopatra (1), 26 December 1912
-
The Virgin Godess, 15 June 1912
-
The Virgin Goddess, 15 June 1912
-
Othello, 1 June 1912
-
Kismet, 6 April 1912
-
Oscar Asche and Lily Brayton - for copying, 1912
-
Count Hannibal, 15 January 1910
-
Potash and Perlmutter, 23 November 1918
-
The High Cost of Loving, 9 November 1918
-
The Thirteenth Chair, 17 August 1918
-
The Willow Tree, 27 April 1918
-
The Bird of Paradise, 22 December 1917
-
Under Fire, 1 January 1916
-
Kick In, 11 December 1915
-
Stop Thief, 4 December 1915
-
A Pair of Sixes, 13 November 1915
-
Nobody's Widow, 9 October 1915
-
Under Cover, 28 August 1915
-
Potash and Perlmutter, 10 July 1915
-
Hold My Hand, 17 June 1933
-
Our Miss Gibbs, 15 April 1933
-
Sons o' Guns, 31 January 1931
-
Katinka, 19 May 1930
-
The Merry Widow, 26 April 1930
-
The Maid of the Mountains, 14 March 1930
-
Follow Through, 8 February 1930
-
Turned Up, 26 December 1929
-
Hold Everything, 2 November 1929
-
The Girl Friend, 28 April 1928
-
Wildflower, 27 November 1926
-
Tell Me More, 17 July 1926
-
Brown Sugar, 30 October 1926
-
Mary Goes First, 10 November 1917
-
Good Gracious, Annabelle, 27 October 1917
-
Penelope, 5 May 1917
-
The Marriage of Kitty, 7 April 1917
-
The Woman, 6 January 1917
-
The Land of Promise, 26 August 1916
-
Kick In, 11 December 1915
-
The Seven Keys to Baldpate, 13 March 1915
-
Joseph and His Brethren, 14 February 1914
-
Within the Law, 17 May 1913
-
The Whip, 19 October 1912
-
The Trial of Mary Dugan, 31 March 1928
-
Brown Sugar, 30 October 1926
-
Tilly of Bloomsbury, 20 March 1920
-
A Tailor-Made Man, 5 July 1919
-
Nothing But The Truth, 26 December 1918
-
Get Rich Quick Wallingford, 14 October 1916
-
Get Rich Quick Wallingford, 6 May 1916
-
Broadway Jones, 24 April 1915
-
The Seven Keys to Baldpate, 13 March 1915
-
Officer 666, 27 June 1914
-
Excuse me!, 11 October 1913
-
Get Rich Quick Wallingford, 20 November 1912
-
Papillionetta or, The Prince's Little Feat and the Big Beatle Crusher, 10 April 1871
-
Goody Two Shoes and Little Boy Blue, 26 December 1870
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 7 August 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 6 March 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 1 February 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 12 December 1868
-
King Arthur or, Launcelot the Loose, Gin-ever the Square, and the Knights of the Round Table and Other Furniture, 31 October 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 18 August 1868
-
Leah the Forsaken / The Bonnie Fishwife, 3 August 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 25 May 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 11 April 1868
-
Tom Tom the Piper's Son and Mary Mary Quite Contrary, 26 December 1867
-
Tosca, 14 September 1932
-
Tales of Hoffman, 6 September 1932
-
La Traviata, 27 August 1932
-
Don Pasquale, 23 August 1932
-
Cavalleria Rusticana / I Pagliacci, 18 August 1932
-
Andrea Chenier, 10 August 1932
-
Il Trovatore, 2 August 1932
-
Carmen, 23 July 1932
-
Madam Butterfly, 14 July 1932
-
Rigoletto, 12 July 1932
-
La Boheme, 7 July 1932
-
Aida, 2 July 1932
-
A Tailor-Made Man, 5 July 1919
-
London Pride, 19 May 1917
-
The Misleading Lady, 10 February 1917
-
The Land of Promise, 26 August 1916
-
Within the Law, 23 October 1915
-
Nobody's Widow, 9 October 1915
-
Under Cover, 28 August 1915
-
Broadway Jones, 24 April 1915
-
The Seven Keys to Baldpate, 13 March 1915
-
Officer 666, 27 June 1914
-
Never Say Die, 16 May 1914
-
The Whip, 19 October 1912
-
Princess Ida, 10 December 1932
-
Dorothy, 3 December 1932
-
Lilac Time, 12 November 1932
-
The Gondoliers, 10 November 1932
-
Patience, 27 October 1932
-
The Pirates of Penzance / Trial by Jury, 22 October 1932
-
Iolanthe, 8 October 1932
-
The Gondoliers, 26 September 1932
-
Patience, 25 July 1931
-
Iolanthe, 16 May 1931
-
The Pirates of Penzance / Trial by Jury, 2 May 1931
-
The Gondoliers, 11 April 1931
-
The Silent Witness, 31 May 1919
-
Common Clay, 10 May 1919
-
Three Faces East / The Monkey's Paw, 13 April 1919
-
Madame X, 5 April 1919
-
The Great Divide, 8 March 1919
-
The Man Who Came Back, 29 June 1918
-
The Bird of Paradise, 22 December 1917
-
Under Fire, 1 January 1916
-
Stop Thief, 4 December 1915
-
Monsieur Beaucaire, 12 September 1914
-
The Scarlet Pimpernel, 5 September 1914
-
Joseph and His Brethren, 14 February 1914
-
The Quaker Girl, 22 July 1933
-
Hold My Hand, 17 June 1933
-
Our Miss Gibbs, 15 April 1933
-
Blue Roses, 13 May 1932
-
The Maid of the Mountains, 5 December 1931
-
Oh Lady, Lady, 21 November 1931
-
The Merry Widow, 7 November 1931
-
The Cingalee, 15 November 1930
-
Mr. Cinders, 11 October 1930
-
Hold Everything, 2 November 1929
-
The Five-O'Clock Girl, 18 May 1929
-
The Girl Friend, 28 April 1928
-
Brewster's Millions, 26 October 1929
-
Dracula, 20 July 1929
-
Victory, 26 January 1929
-
Other Men's Wives , 22 December 1928
-
The Ringer, 17 November 1928
-
Lightnin', 29 November 1924
-
The Laughter of Fools, 7 January 1922
-
Penelope, 5 May 1917
-
The Argyle Case, 17 October 1914
-
An Enemy of the People, 27 June 1914
-
Fanny's First Play, 20 June 1914
-
The Doctor's Dilemma, 24 March 1914
-
The Maid of the Mountains, 22 January 1921
-
Outcast, 4 September 1920
-
Tilly of Bloomsbury, 20 March 1920
-
The Silent Witness, 31 May 1919
-
Common Clay, 10 May 1919
-
Three Faces East / The Monkey's Paw, 13 April 1919
-
Madame X, 5 April 1919
-
The Great Divide, 8 March 1919
-
Potash and Perlmutter, 23 November 1918
-
The High Cost of Loving, 9 November 1918
-
The Man Who Came Back, 29 June 1918
-
Outcast, 11 May 1918
Emily Nathan
- Costume Co-ordinator, Costume Designer, Costume Maker
-
Our Miss Gibbs, 15 April 1933
-
The Boy, 23 October 1920
-
Yes, Uncle!, 12 June 1920
-
Aladdin, being an Old Version of a New Lamp , 26 December 1890
-
Cinderella, Gold and Silver and the Little Glass Slipper, 26 December 1889
-
Sinbad the Sailor or, Tinbad the Tailor and the Wicked Ogre and the Good Fairy Submarine, 26 December 1888
-
Jack the Giant Killer and Little Bo Peep or, Harlequin King Arthur and the Enchanted Sheep, 24 December 1887
-
Robinson Crusoe, 26 December 1886
-
Sleeping Beauty or, Harlequin Mother Goose and the Seven Champions of Christendom, 26 December 1885
-
Cinderella, her Sisters, her Sorrows, and her Little Glass Slipper or, the Fairy Godmother who wouldn't let the Bad, 24 December 1884
-
Aladdin or Harlequin, the Wonderful Ring, the Magical Lamp and the Pretty Young Maiden who Loved a Great Scamp ..., 26 December 1883
-
Jack and the Beanstalk and See-Saw, Margery Daw or, Harlequin Man in the Moon, The Love Birds of Fairyland, 26 December 1882
Cyril Ritchard
- Actor, Choreographer, Dancer, Producer
-
The Quaker Girl, 22 July 1933
-
Hold My Hand, 17 June 1933
-
Our Miss Gibbs, 15 April 1933
-
Blue Roses, 13 May 1932
-
Kissing Time, 24 May 1924
-
The Cabaret Girl, 25 March 1924
-
A Night Out, 21 January 1922
-
Katinka, 2 July 1921
-
The Girl in the Taxi, 21 August 1920
-
Yes, Uncle!, 12 June 1920
-
Yes Uncle, 12 June 1920
-
Going Up, 28 May 1920
-
The Silent Witness, 31 May 1919
-
Common Clay, 10 May 1919
-
Three Faces East / The Monkey's Paw, 13 April 1919
-
Penelope, 5 May 1917
-
The Marriage of Kitty, 7 April 1917
-
The Woman, 6 January 1917
-
The Land of Promise, 26 August 1916
-
Within the Law, 23 October 1915
-
Nobody's Widow, 9 October 1915
-
Under Cover, 28 August 1915
-
Broadway Jones, 24 April 1915
-
Officer 666, 27 June 1914
-
Rip Van Winkle, 15 February 1893
-
Led Astray, 28 October 1889
-
Rip Van Winkle, 6 August 1887
-
The Streets of London, 23 July 1887
-
Led Astray, 2 July 1881
-
The Shaughraun, 29 May 1875
-
Led Astray, 27 April 1875
-
Elfie, or the Cherry Tree Inn, 1 July 1871
-
The Octoroon / Old Gooseberry, 24 June 1871
-
After Dark, a Tale of London Life, 20 February 1869
-
The Flying Scud or, A Four-legged Fortune, 16 March 1867
-
Othello, 14 March 1913
-
The Merchant of Venice, 11 March 1913
-
A Midsummer Night's Dream, 8 February 1913
-
The Taming of the Shrew, 1 February 1913
-
Antony and Cleopatra, 26 December 1912
-
Antony and Cleopatra (1), 26 December 1912
-
The Virgin Godess, 15 June 1912
-
The Virgin Goddess, 15 June 1912
-
Othello, 1 June 1912
-
Kismet, 6 April 1912
-
Oscar Asche and Lily Brayton - for copying, 1912
-
The Quaker Girl, 22 July 1933
-
Our Miss Gibbs, 15 April 1933
-
The Chocolate Soldier, 20 February 1932
-
The Maid of the Mountains, 5 December 1931
-
The Cingalee, 15 November 1930
-
Mr. Cinders, 11 October 1930
-
The Merry Widow, 26 April 1930
-
The Maid of the Mountains, 14 March 1930
-
Follow Through, 8 February 1930
-
Turned Up, 26 December 1929
-
This Year of Grace, 30 March 1929
-
The Merry Widow, 7 November 1931
-
The House That Jack Built, 20 December 1930
-
The Girlfriend, 28 April 1928
-
Kissing Time, 24 May 1924
-
Katinka, 2 July 1921
-
The Maid of the Mountains, 22 January 1921
-
Yes, Uncle!, 12 June 1920
-
Kissing Time, 31 January 1920
-
The Marriage of Kitty, 7 April 1917
-
Joseph and His Brethren, 14 February 1914
-
The Whip, 19 October 1912
-
The Quaker Girl, 22 July 1933
-
Hold My Hand, 17 June 1933
-
Our Miss Gibbs, 15 April 1933
-
Blue Roses, 13 May 1932
-
Kissing Time, 24 May 1924
-
The Cabaret Girl, 25 March 1924
-
A Night Out, 21 January 1922
-
The Girl in the Taxi, 21 August 1920
-
Yes, Uncle!, 12 June 1920
-
Yes Uncle, 12 June 1920
-
Going Up, 28 May 1920
George Gordon
- Actor, Playwright, Scenic Artist
-
Cinderella, Gold and Silver and the Little Glass Slipper, 26 December 1889
-
Led Astray, 28 October 1889
-
Union Jack, 16 March 1889
-
Sinbad the Sailor or, Tinbad the Tailor and the Wicked Ogre and the Good Fairy Submarine, 26 December 1888
-
Jack the Giant Killer and Little Bo Peep or, Harlequin King Arthur and the Enchanted Sheep, 24 December 1887
-
The World, 11 June 1887
-
Alone in London, 14 May 1887
-
Sleeping Beauty or, Harlequin Mother Goose and the Seven Champions of Christendom, 26 December 1885
-
Cinderella, her Sisters, her Sorrows, and her Little Glass Slipper or, the Fairy Godmother who wouldn't let the Bad, 24 December 1884
-
Aladdin or Harlequin, the Wonderful Ring, the Magical Lamp and the Pretty Young Maiden who Loved a Great Scamp ..., 26 December 1883
-
Sardanapalus, 19 October 1857
-
Humpty Dumpty, Who Sat on a Wall or Harlequin King Arthur, 28 December 1874
-
Riquet with the Tuft; or, Harequin Old Mother Shipton, The Silver Champions and Darwin's Genealogical Tree, 26 December 1872
-
Jack and The Beanstalk or Harlequin Nursery Rhymes and the Pranks of the Good Little People , 26 December 1871
-
Ixion or, The Man at the Wheel, 9 September 1871
-
Elfie, or the Cherry Tree Inn, 1 July 1871
-
Papillionetta or, The Prince's Little Feat and the Big Beatle Crusher, 10 April 1871
-
Goody Two Shoes and Little Boy Blue, 26 December 1870
-
Sun and Shadow or, Mark Stornway's Nephew, 1 October 1870
-
Harlequin Arabian Nights or, The Fast Young Turk and The Pretty Russian, 26 December 1862
-
The Magician's Daughter or, Harlequin King of the Golden Island and the Fairy Rifle Corps, 26 December 1855
-
The Mirror of Beauty or, Little Snow White and the Seven Dwarfs, 5 October 1855
-
The Misleading Lady, 10 February 1917
-
The Land of Promise, 26 August 1916
-
The Lion and the Mouse, 7 February 1914
-
Milestones, 31 January 1914
-
Man and Superman, 29 January 1914
-
Man and Superman, 3 May 1913
-
Milestones, 22 March 1913
-
The Prodigal Son, 17 February 1906
-
The Sunny South, 19 November 1887
-
Siberia, 5 February 1887
-
Human Nature, 23 October 1886
Gladys Moncrieff
- Actor, Actor and Singer, Performer
-
The Maid of the Mountains, 4 November 1933
-
The Chocolate Soldier, 20 February 1932
-
The Maid of the Mountains, 5 December 1931
-
Katinka, 19 May 1930
-
The Merry Widow, 26 April 1930
-
The Maid of the Mountains, 14 March 1930
-
The Merry Widow, 2 January 1926
-
Katinka, 2 July 1921
-
The Maid of the Mountains, 22 January 1921
-
The Boy, 23 October 1920
-
Kissing Time, 31 January 1920
Charles Young
- Actor, Director, Assistant
-
Tiffins the Imperishable, 17 June 1865
-
Turtle Soup, 1 May 1865
-
The Enchanted Island or Harlequin the Mysyterious Prince and the Magician Father, 24 December 1864
-
Ali Baba, or The Thirty-Nine Thieves, 3 September 1864
-
A Night at Emerald Hill, 30 July 1864
-
A Night at Emerald Hill, 24 October 1863
-
A Night at Emerald Hill, 12 June 1863
-
Harlequin Arabian Nights or, The Fast Young Turk and The Pretty Russian, 26 December 1862
-
Harlequin Valentine and Orson or, The Task of Romance and The TRicks of the Spirit of Fun, 26 December 1861
-
Dred or, A tale of the Great Dismal Swamp , 24 January 1857
-
Multiplication is Vexation, Division is as Bad or, Harlequin Rule of Three and The Genius of the Crystal lake of Learning, 26 December 1856
Richard Younge
- Actor, Actor-manager, Director
-
Did You Ever Send Your Wife to St Kilda?, 28 May 1859
-
The Yellow Dwarf or The King Of the Golden Mines, 25 April 1859
-
Harlequin Robin Hood or, The Bold Huntsman of Sherwood and the Fairy Locallotta, 27 December 1858
-
The Conquest of Delhi, 1 February 1858
-
Rolla of Ours or, The Shameful Goings-on of the Spaniards in Peru , 19 January 1858
-
Harlequin Whittington and His Cat, 26 December 1857
-
The Fall of Sebastopol or, The Campaigners, 17 August 1857
-
The Melbourne Fireman, 24 June 1857
-
Dred or, A tale of the Great Dismal Swamp , 24 January 1857
-
Multiplication is Vexation, Division is as Bad or, Harlequin Rule of Three and The Genius of the Crystal lake of Learning, 26 December 1856
-
What a Man May Suffer in Victoria, 31 October 1856
-
The Command to Love, 25 March 1933
-
Bitter Sweet, 26 March 1932
-
Brewster's Millions, 26 October 1929
-
The Cabaret Girl, 25 March 1924
-
Penelope, 18 September 1920
-
The Duke of Killiecrankie, 11 September 1920
-
Outcast, 4 September 1920
-
Mrs Dot, 1 December 1917
-
Mary Goes First, 10 November 1917
-
Good Gracious, Annabelle, 27 October 1917
-
Sinbad the Sailor, 26 December 1931
-
Mr. Cinders, 11 October 1930
-
The Terror, 21 November 1928
-
The Silent House, 22 September 1928
-
The Terror, 28 January 1928
-
Lightnin', 29 November 1924
-
The Laughter of Fools, 7 January 1922
-
His Lady Friends, 10 September 1921
-
Nightie Night, 30 July 1921
-
Tilly of Bloomsbury, 20 March 1920
-
Goody Two Shoes and Little Boy Blue, 26 December 1870
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 7 August 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 6 March 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 1 February 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 12 December 1868
-
King Arthur or, Launcelot the Loose, Gin-ever the Square, and the Knights of the Round Table and Other Furniture, 31 October 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 18 August 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 25 May 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 11 April 1868
-
Tom Tom the Piper's Son and Mary Mary Quite Contrary, 26 December 1867
-
The Marriage of Kitty, 25 September 1920
-
Penelope, 18 September 1920
-
The Duke of Killiecrankie, 11 September 1920
-
Outcast, 4 September 1920
-
Mrs Dot, 1 December 1917
-
A Pair of Silk Stockings, 17 November 1917
-
Mary Goes First, 10 November 1917
-
Good Gracious, Annabelle, 27 October 1917
-
Penelope, 5 May 1917
-
The Marriage of Kitty, 7 April 1917
Harry Burcher
- Actor, Producer, Stage Director
-
Tell Me More, 17 July 1926
-
Kissing Time, 24 May 1924
-
The Cabaret Girl, 25 March 1924
-
A Night Out, 21 January 1922
-
Yes, Uncle!, 12 June 1920
-
Yes Uncle, 12 June 1920
-
Going Up, 28 May 1920
-
Oh Boy, 5 October 1918
-
Oh, Boy, 14 September 1918
-
The Argyle Case, 17 October 1914
George Darrell
- Actor, Actor-manager, Adaptor, Administrator, Playwright
-
The Crimson Thread, 11 August 1894
-
The Double Event or, A Tale of the Melbourne Cup, 1 April 1893
-
Aladdin, being an Old Version of a New Lamp , 26 December 1890
-
The Old Corporal, 22 September 1888
-
Mr Barnes of New York, 1 September 1888
-
First Class, 3 December 1887
-
The Sunny South, 19 November 1887
-
Grand Complimentary Benefit for Mr George Darrell, 23 August 1887
-
Christine Johnstone, the Snowdrop of the North, 21 November 1868
-
Leah the Forsaken / The Bonnie Fishwife, 3 August 1868
-
Lightnin', 29 November 1924
-
It Pays to Advertise, 23 September 1916
-
Too Many Cooks , 16 September 1916
-
It Pays to Advertise, 29 January 1916
-
Potash and Perlmutter, 10 July 1915
-
Broadway Jones, 24 April 1915
-
The Seven Keys to Baldpate, 13 March 1915
-
Officer 666, 27 June 1914
-
Never Say Die, 16 May 1914
-
Excuse me!, 11 October 1913
-
The Quaker Girl, 22 July 1933
-
Waltzes from Vienna, 24 December 1932
-
Lilac Time, 6 September 1930
-
A Night Out, 21 January 1922
-
The Girl in the Taxi, 21 August 1920
-
Yes, Uncle!, 12 June 1920
-
Yes Uncle, 12 June 1920
-
Going Up, 28 May 1920
-
A Tailor-Made Man, 5 July 1919
-
The Marriage of Kitty, 7 April 1917
-
The Quaker Girl, 22 July 1933
-
Sinbad the Sailor, 26 December 1931
-
Kissing Time, 24 May 1924
-
The Cabaret Girl, 25 March 1924
-
A Night Out, 21 January 1922
-
The Girl in the Taxi, 21 August 1920
-
Yes, Uncle!, 12 June 1920
-
Yes Uncle, 12 June 1920
-
Going Up, 28 May 1920
-
Oh, Boy, 14 September 1918
-
Dearest Enemy, 12 September 1931
-
The Five-O'Clock Girl, 18 May 1929
-
Kissing Time, 24 May 1924
-
The Cabaret Girl, 25 March 1924
-
A Night Out, 21 January 1922
-
The Girl in the Taxi, 21 August 1920
-
Yes, Uncle!, 12 June 1920
-
Yes Uncle, 12 June 1920
-
Going Up, 28 May 1920
-
Oh, Boy, 14 September 1918
-
Tales of Hoffman, 6 September 1932
-
La Traviata, 27 August 1932
-
Don Pasquale, 23 August 1932
-
Cavalleria Rusticana / I Pagliacci, 18 August 1932
-
Andrea Chenier, 10 August 1932
-
Barber of Seville, 27 July 1932
-
Carmen, 23 July 1932
-
Rigoletto, 12 July 1932
-
La Boheme, 7 July 1932
-
Aida, 2 July 1932
-
The Lilac Domino, 16 July 1921
-
The Misleading Lady, 10 February 1917
-
Get Rich Quick Wallingford, 14 October 1916
-
Get Rich Quick Wallingford, 6 May 1916
-
The Argyle Case, 17 October 1914
-
Officer 666, 27 June 1914
-
Never Say Die, 16 May 1914
-
Excuse me!, 11 October 1913
-
The Fortune Hunter, 16 August 1913
-
Get Rich Quick Wallingford, 20 November 1912
-
Our Miss Gibbs, 15 April 1933
-
The Five-O'Clock Girl, 18 May 1929
-
The Girl Friend, 28 April 1928
-
Leave it to Jane, 5 June 1926
-
A Night Out, 21 January 1922
-
Katinka, 2 July 1921
-
The Maid of the Mountains, 22 January 1921
-
The Boy, 23 October 1920
-
Yes, Uncle!, 12 June 1920
-
Yes Uncle, 12 June 1920
B N Jones
- Actor, Producer, Stage Director, Stage Manager
-
Alone in London, 12 May 1888
-
The Sunny South, 19 November 1887
-
Pluck, or A Story of £50,000, 7 September 1883
-
Jack and the Beanstalk and See-Saw, Margery Daw or, Harlequin Man in the Moon, The Love Birds of Fairyland, 26 December 1882
-
Russia As It Is, 6 May 1882
-
Youth, 28 April 1882
-
Whittington and His Cat, 24 December 1881
-
The World, 1 October 1881
-
Sinbad the Sailor; or The Pet of the Pearl; The Old Man of the Sea; and the Dwarf of the Diamond Valley, 27 December 1880
-
All for Gold, or Fifty Millions of Money, 6 June 1877
-
Jack and The Beanstalk or Harlequin Nursery Rhymes and the Pranks of the Good Little People , 26 December 1871
-
The house that Jack Built or, Harlequin Progress and the Loves, Laughs, laments and Labours of Jack Melbourne and Little Victoria, 27 December 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 7 August 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 6 March 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 1 February 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 12 December 1868
-
King Arthur or, Launcelot the Loose, Gin-ever the Square, and the Knights of the Round Table and Other Furniture, 31 October 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 18 August 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 25 May 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 11 April 1868
W Little
- Scenic Artist, Set Designer
-
Blue Roses, 13 May 1932
-
The Cabaret Girl, 25 March 1924
-
A Night Out, 21 January 1922
-
Fair and Warmer, 17 March 1917
-
Get Rich Quick Wallingford, 14 October 1916
-
Get Rich Quick Wallingford, 6 May 1916
-
Stop Thief, 4 December 1915
-
The Argyle Case, 17 October 1914
-
The Fortune Hunter, 16 August 1913
-
Get Rich Quick Wallingford, 20 November 1912
-
Get Rich Quick Wallingford, 14 October 1916
-
Get Rich Quick Wallingford, 6 May 1916
-
Broadway Jones, 24 April 1915
-
Seven Keys to Baldpate, 13 March 1915
-
The Seven Keys to Baldpate, 13 March 1915
-
Officer 666, 27 June 1914
-
Never Say Die, 16 May 1914
-
Excuse me!, 11 October 1913
-
The Fortune Hunter, 16 August 1913
-
Get Rich Quick Wallingford, 20 November 1912
-
Bitter Sweet, 26 March 1932
-
The Maid of the Mountains, 5 December 1931
-
Oh Lady, Lady, 21 November 1931
-
The Merry Widow, 7 November 1931
-
Florodora, 10 October 1931
-
Dearest Enemy, 12 September 1931
-
The Duchess of Dantzic, 22 August 1931
-
Lilac Time, 6 September 1930
-
The New Moon, 19 July 1930
-
Lilac Time, 9 January 1926
-
Madame X, 24 May 1924
-
Madame X, 5 April 1919
-
Madame X, 5 July 1916
-
Kick In, 11 December 1915
-
Madame X, 6 November 1915
-
Within the Law, 23 October 1915
-
Under Cover, 28 August 1915
-
Within the Law, 31 October 1914
-
Madame X, 28 March 1914
-
Within the Law, 17 May 1913
-
Jack and The Beanstalk or Harlequin Nursery Rhymes and the Pranks of the Good Little People , 26 December 1871
-
Elfie, or the Cherry Tree Inn, 1 July 1871
-
The Octoroon / Old Gooseberry, 24 June 1871
-
Goody Two Shoes and Little Boy Blue, 26 December 1870
-
Sun and Shadow or, Mark Stornway's Nephew, 1 October 1870
-
Leah the Forsaken / The Bonnie Fishwife, 3 August 1868
-
Little Jack Horner the Original Hero of the Corner or, The Fairy Cooks of Our Christmas Pie, 26 December 1860
-
The Rivals [and] A Musical Melange [and] Valet de Sham, 31 October 1860
-
The Magician's Daughter or, Harlequin King of the Golden Island and the Fairy Rifle Corps, 26 December 1855
-
The Mirror of Beauty or, Little Snow White and the Seven Dwarfs, 5 October 1855
Phil Smith
- Actor, Actor and Singer
-
The Maid of the Mountains, 4 November 1933
-
Patience, 27 October 1932
-
Patience, 25 July 1931
-
The Cingalee, 15 November 1930
-
Mr. Cinders, 11 October 1930
-
A Country Girl, 5 July 1930
-
The Belle of New York, 31 May 1930
-
Katinka, 2 July 1921
-
The Maid of the Mountains, 22 January 1921
-
Dorothy, 9 May 1914
-
Harlequin Arabian Nights or, The Fast Young Turk and The Pretty Russian, 26 December 1862
-
Little Jack Horner the Original Hero of the Corner or, The Fairy Cooks of Our Christmas Pie, 26 December 1860
-
Harlequin Robin Hood or, The Bold Huntsman of Sherwood and the Fairy Locallotta, 27 December 1858
-
Coppin in Cairo; A Romance Of The Mail Service, 24 May 1858
-
Harlequin Whittington and His Cat, 26 December 1857
-
The Fall of Sebastopol or, The Campaigners, 17 August 1857
-
Multiplication is Vexation, Division is as Bad or, Harlequin Rule of Three and The Genius of the Crystal lake of Learning, 26 December 1856
-
The Magician's Daughter or, Harlequin King of the Golden Island and the Fairy Rifle Corps, 26 December 1855
-
The Mirror of Beauty or, Little Snow White and the Seven Dwarfs, 5 October 1855
-
The School for Scandal / National Spanich Dance / An Actress of All Work, 16 July 1855
-
The Marriage of Kitty, 25 September 1920
-
Penelope, 18 September 1920
-
The Duke of Killiecrankie, 11 September 1920
-
Outcast, 4 September 1920
-
Mrs Dot, 1 December 1917
-
A Pair of Silk Stockings, 17 November 1917
-
Mary Goes First, 10 November 1917
-
Good Gracious, Annabelle, 27 October 1917
-
Penelope, 5 May 1917
-
The Marriage of Kitty, 7 April 1917
-
Music in the Air, 16 September 1933
-
The Duchess of Dantzic, 22 August 1931
-
The Girl Friend, 28 April 1928
-
Lilac Time, 9 January 1926
-
Penelope, 18 September 1920
-
The Duke of Killiecrankie, 11 September 1920
-
London Pride, 19 May 1917
-
Madame X, 6 November 1915
-
Madame X, 28 March 1914
-
The Lion and the Mouse, 7 February 1914
C B Westmacott
- Administrator, General Manager
-
Three Faces East / The Monkey's Paw, 13 April 1919
-
Madame X, 5 April 1919
-
The Great Divide, 8 March 1919
-
Potash and Perlmutter, 23 November 1918
-
The High Cost of Loving, 9 November 1918
-
The Man Who Came Back, 29 June 1918
-
The Bird of Paradise, 22 December 1917
-
Mrs Dot, 1 December 1917
-
Mary Goes First, 10 November 1917
-
The Merchant of Venice, 11 March 1913
-
Bitter Sweet, 26 March 1932
-
The Maid of the Mountains, 5 December 1931
-
Oh Lady, Lady, 21 November 1931
-
The Merry Widow, 7 November 1931
-
Florodora, 10 October 1931
-
Dearest Enemy, 12 September 1931
-
The Duchess of Dantzic, 22 August 1931
-
The New Moon, 19 July 1930
-
A Country Girl, 5 July 1930
-
The Belle of New York, 31 May 1930
-
Princess Ida, 10 December 1932
-
Dorothy, 3 December 1932
-
Lilac Time, 12 November 1932
-
The Gondoliers, 10 November 1932
-
The Pirates of Penzance / Trial by Jury, 22 October 1932
-
The Yeomen of the Guard, 15 October 1932
-
Ruddigore, 1 October 1932
-
The Gondoliers, 26 September 1932
-
The Yeomen of the Guard, 27 June 1931
-
The Pirates of Penzance / Trial by Jury, 2 May 1931
Thomas Broderick
- Actor, Stage Manager, Assistant
-
Led Astray, 28 October 1889
-
The Life and Death of King Richard III, 12 August 1879
-
Class, 17 June 1878
-
All for Gold, or Fifty Millions of Money, 6 June 1877
-
Romeo and Juliet, 10 August 1876
-
The Shaughraun, 29 May 1875
-
Jack and The Beanstalk or Harlequin Nursery Rhymes and the Pranks of the Good Little People , 26 December 1871
-
Peacock's Feathers, 23 September 1871
-
Ixion or, The Man at the Wheel, 9 September 1871
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 7 August 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 6 March 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 1 February 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 12 December 1868
-
King Arthur or, Launcelot the Loose, Gin-ever the Square, and the Knights of the Round Table and Other Furniture, 31 October 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 18 August 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 25 May 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 11 April 1868
-
The Magician's Daughter or, Harlequin King of the Golden Island and the Fairy Rifle Corps, 26 December 1855
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 7 August 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 6 March 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 1 February 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 12 December 1868
-
King Arthur or, Launcelot the Loose, Gin-ever the Square, and the Knights of the Round Table and Other Furniture, 31 October 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 18 August 1868
-
Leah the Forsaken / The Bonnie Fishwife, 3 August 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 25 May 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 11 April 1868
Rosalie Duvalli
- Actor, Choreographer, Performer
-
Babes in the Woods or Bold Robin Hood and his Foresters Good, 24 December 1892
-
Dick Whittington and His Cat or Harlequin the Demon Rat and the Good Fairies of the Bells, 26 December 1891
-
Jack the Giant Killer and Little Bo Peep or, Harlequin King Arthur and the Enchanted Sheep, 24 December 1887
-
Sleeping Beauty or, Harlequin Mother Goose and the Seven Champions of Christendom, 26 December 1885
-
Humpty Dumpty, Who Sat on a Wall or Harlequin King Arthur, 28 December 1874
-
Twinkle, Twinkle, Little Star or Harlequin Jack Frost and the Old Woman who Lived in a Shoe, 2 January 1874
-
Goody Two Shoes and Little Boy Blue, 26 December 1870
-
Milky White / Ode on Odd Fellowship / The House that Jack Built / New Tricks, 25 January 1870
-
The house that Jack Built or, Harlequin Progress and the Loves, Laughs, laments and Labours of Jack Melbourne and Little Victoria, 27 December 1869
-
The Chocolate Soldier, 20 February 1932
-
The Maid of the Mountains, 5 December 1931
-
Oh Lady, Lady, 21 November 1931
-
The Merry Widow, 7 November 1931
-
Dearest Enemy, 12 September 1931
-
The Duchess of Dantzic, 22 August 1931
-
Lilac Time, 6 September 1930
-
Katinka, 19 May 1930
-
The Merry Widow, 26 April 1930
-
The Merchant of Venice, 29 October 1889
-
The Merchant of Venice, 19 October 1889
-
A Run of Luck, 15 April 1887
-
Siberia, 5 February 1887
-
Peacock's Feathers, 23 September 1871
-
Elfie, or the Cherry Tree Inn, 1 July 1871
-
Sun and Shadow or, Mark Stornway's Nephew, 1 October 1870
-
Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, 25 March 1869
-
Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, 24 December 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 7 August 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 6 March 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 1 February 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 12 December 1868
-
King Arthur or, Launcelot the Loose, Gin-ever the Square, and the Knights of the Round Table and Other Furniture, 31 October 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 18 August 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 25 May 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 11 April 1868
-
Tom Tom the Piper's Son and Mary Mary Quite Contrary, 26 December 1867
B Levy
- Musical Arranger
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 7 August 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 6 March 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 1 February 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 12 December 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 18 August 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 25 May 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 11 April 1868
-
Tom Tom the Piper's Son and Mary Mary Quite Contrary, 26 December 1867
-
Gulliver on his travels or, Harlequin and Father Christmas and the fairy queen of the silver acacias, 26 December 1866
William Little
- Designer, Scenic Artist, Set Designer
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 7 August 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 6 March 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 1 February 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 12 December 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 18 August 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 25 May 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 11 April 1868
-
Gulliver on his travels or, Harlequin and Father Christmas and the fairy queen of the silver acacias, 26 December 1866
-
The Enchanted Island or Harlequin the Mysyterious Prince and the Magician Father, 24 December 1864
-
The Honeymoon / Grimshaw, Bagshaw, and Bradshaw, 7 August 1860
-
A Spec in China, 24 July 1860
-
The Talisman or, Emigration of Old, 21 June 1860
-
Harlequin Prince Humpy Dumpy or, The Magic Eagle and The Golden Branch, 26 December 1859
-
Richard lll Performance by the Melbourne Garrick Club... Thursday 29th September [1859], 29 September 1859
-
Harlequin Robin Hood or, The Bold Huntsman of Sherwood and the Fairy Locallotta, 27 December 1858
-
Coppin in Cairo; A Romance Of The Mail Service, 24 May 1858
-
Rolla of Ours or, The Shameful Goings-on of the Spaniards in Peru , 19 January 1858
-
Harlequin Whittington and His Cat, 26 December 1857
Adrian Ross
- Librettist, Lyricist
Mr Siede
- Composer, Musical Arranger, Musician, Flautist
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 7 August 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 6 March 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 1 February 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 12 December 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 18 August 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 25 May 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 11 April 1868
-
Gulliver on his travels or, Harlequin and Father Christmas and the fairy queen of the silver acacias, 26 December 1866
-
Richard lll Performance by the Melbourne Garrick Club... Thursday 29th September [1859], 29 September 1859
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 7 August 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 6 March 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 1 February 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 12 December 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 18 August 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 25 May 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 11 April 1868
-
The Magician's Daughter or, Harlequin King of the Golden Island and the Fairy Rifle Corps, 26 December 1855
-
The Widow's Victim / The Lottery Ticket, 21 February 1841
-
The Girl Friend, 28 April 1928
-
Tell Me More, 17 July 1926
-
Leave it to Jane, 5 June 1926
-
The Cabaret Girl, 25 March 1924
-
A Night Out, 21 January 1922
-
The Girl in the Taxi, 21 August 1920
-
Yes, Uncle!, 12 June 1920
-
Yes Uncle, 12 June 1920
-
Going Up, 28 May 1920
Guy Bolton
- Book and Lyrics, Lyricist, Writer
-
Oh Lady, Lady, 21 November 1931
-
The Five-O'Clock Girl, 18 May 1929
-
Leave it to Jane, 5 June 1926
-
Kissing Time, 24 May 1924
-
Sally, 15 September 1923
-
Kissing Time, 9 October 1920
-
Kissing Time, 31 January 1920
-
Oh, Boy, 14 September 1918
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 7 August 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 6 March 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 1 February 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 12 December 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 18 August 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 25 May 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 11 April 1868
-
Tom Tom the Piper's Son and Mary Mary Quite Contrary, 26 December 1867
-
Little Jack Horner the Original Hero of the Corner or, The Fairy Cooks of Our Christmas Pie, 26 December 1860
-
The Rivals [and] A Musical Melange [and] Valet de Sham, 31 October 1860
-
Pluto and Proserpine or, The Triumphs of Ceres, 24 October 1860
-
A Spec in China, 24 July 1860
-
The Nymph of the Lurleyburg , 5 April 1860
-
Harlequin Prince Humpy Dumpy or, The Magic Eagle and The Golden Branch, 26 December 1859
-
Did You Ever Send Your Wife to St Kilda?, 28 May 1859
-
The Yellow Dwarf or The King Of the Golden Mines, 25 April 1859
Redge Carey
- Actor, Stage Manager
-
Riquet with the Tuft; or, Harequin Old Mother Shipton, The Silver Champions and Darwin's Genealogical Tree, 26 December 1872
-
Jack and The Beanstalk or Harlequin Nursery Rhymes and the Pranks of the Good Little People , 26 December 1871
-
Gulliver on his travels or, Harlequin and Father Christmas and the fairy queen of the silver acacias, 26 December 1866
-
The Enchanted Island or Harlequin the Mysyterious Prince and the Magician Father, 24 December 1864
-
Harlequin Prince Humpy Dumpy or, The Magic Eagle and The Golden Branch, 26 December 1859
-
Harlequin Robin Hood or, The Bold Huntsman of Sherwood and the Fairy Locallotta, 27 December 1858
-
Coppin in Cairo; A Romance Of The Mail Service, 24 May 1858
-
Harlequin Whittington and His Cat, 26 December 1857
T Foster
- Producer, Stage Manager
Clifford Grey
- Book and Lyrics, Lyricist
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 7 August 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 6 March 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 1 February 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 12 December 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 18 August 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 25 May 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 11 April 1868
-
Tom Tom the Piper's Son and Mary Mary Quite Contrary, 26 December 1867
-
Sinbad the Sailor or the Fairy of the Diamond Valley, 26 December 1904
-
Dick Whittington and His Cat or Harlequin the Demon Rat and the Good Fairies of the Bells, 27 December 1897
-
Aladdin and the Wonderful Lamp, 26 December 1894
-
Sinbad the Sailor, Little Jack Horner and the Old Man of the Sea, 26 December 1893
-
Babes in the Woods or Bold Robin Hood and his Foresters Good, 24 December 1892
-
Dick Whittington and His Cat or Harlequin the Demon Rat and the Good Fairies of the Bells, 26 December 1891
-
Aladdin, being an Old Version of a New Lamp , 26 December 1890
-
Cinderella, Gold and Silver and the Little Glass Slipper, 26 December 1889
-
Union Jack, 16 March 1889
-
Hands Across the Sea, 29 September 1888
-
Taken From Life, 26 May 1888
-
Sentenced to Death, 11 February 1888
-
The World, 11 June 1887
-
A Run of Luck, 15 April 1887
-
Pluck, or A Story of £50,000, 7 September 1883
-
The World, 1 October 1881
Barry Sullivan
- Actor, Actor-manager, Lessee
-
All for Gold, or Fifty Millions of Money, 6 June 1877
-
Romeo and Juliet, 10 August 1876
-
The Shaughraun, 29 May 1875
-
Humpty Dumpty, Who Sat on a Wall or Harlequin King Arthur, 28 December 1874
-
Oliver Twist, 11 May 1874
-
The Irish Tiger / The New Magdalen, 7 March 1874
-
Twinkle, Twinkle, Little Star or Harlequin Jack Frost and the Old Woman who Lived in a Shoe, 2 January 1874
-
Riquet with the Tuft; or, Harequin Old Mother Shipton, The Silver Champions and Darwin's Genealogical Tree, 26 December 1872
Herr Cushla
- Mask Maker, Properties Master, Properties Master / Mistress, Unknown
-
Humpty Dumpty, Who Sat on a Wall or Harlequin King Arthur, 28 December 1874
-
Riquet with the Tuft; or, Harequin Old Mother Shipton, The Silver Champions and Darwin's Genealogical Tree, 26 December 1872
-
The house that Jack Built or, Harlequin Progress and the Loves, Laughs, laments and Labours of Jack Melbourne and Little Victoria, 27 December 1869
-
Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, 25 March 1869
-
Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, 24 December 1868
-
King Arthur or, Launcelot the Loose, Gin-ever the Square, and the Knights of the Round Table and Other Furniture, 31 October 1868
-
Gulliver on his travels or, Harlequin and Father Christmas and the fairy queen of the silver acacias, 26 December 1866
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 7 August 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 6 March 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 1 February 1869
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 12 December 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 18 August 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 25 May 1868
-
Paris the Prince and Helen the Fair or, The Giant Horse and the Seige of Troy, 11 April 1868
Heloise Duvalli
- Actor, Choreographer, Performer
-
Jack the Giant Killer and Little Bo Peep or, Harlequin King Arthur and the Enchanted Sheep, 24 December 1887
-
Sleeping Beauty or, Harlequin Mother Goose and the Seven Champions of Christendom, 26 December 1885
-
Humpty Dumpty, Who Sat on a Wall or Harlequin King Arthur, 28 December 1874
-
Twinkle, Twinkle, Little Star or Harlequin Jack Frost and the Old Woman who Lived in a Shoe, 2 January 1874
-
Goody Two Shoes and Little Boy Blue, 26 December 1870
-
Milky White / Ode on Odd Fellowship / The House that Jack Built / New Tricks, 25 January 1870
-
The house that Jack Built or, Harlequin Progress and the Loves, Laughs, laments and Labours of Jack Melbourne and Little Victoria, 27 December 1869
-
Cinderella, 19 December 1908
-
Sinbad the Sailor, Little Jack Horner and the Old Man of the Sea, 26 December 1893
-
The Babes in the Wood, 26 December 1879
-
The Shaughraun, 29 May 1875
-
Humpty Dumpty, Who Sat on a Wall or Harlequin King Arthur, 28 December 1874
-
Riquet with the Tuft; or, Harequin Old Mother Shipton, The Silver Champions and Darwin's Genealogical Tree, 26 December 1872
-
Quite Alone, 7 November 1872
Augustus Harris
- Librettist, Playwright, Writer
-
The Derby Winner, 13 February 1896
-
The World, 11 June 1887
-
A Run of Luck, 15 April 1887
-
Pluck, or A Story of £50,000, 7 September 1883
-
Youth, 28 April 1882
-
The World, 1 October 1881
-
Satanella or, The Power of Love, 28 April 1862
Otto Hauerbach
- Author, Book and Lyrics, Creator, Lyricist, Playwright, Writer
Charles Holloway
- Actor, Actor-manager, Entrepreneur
-
Colonial Experience, 17 November 1871
-
Peacock's Feathers, 23 September 1871
-
Ixion or, The Man at the Wheel, 9 September 1871
-
Elfie, or the Cherry Tree Inn, 1 July 1871
-
Sun and Shadow or, Mark Stornway's Nephew, 1 October 1870
-
Christine Johnstone, the Snowdrop of the North, 21 November 1868
-
Leah the Forsaken / The Bonnie Fishwife, 3 August 1868
J Keers
- Musical Director
-
The Mariner's Compass or, Duty, 28 January 1867
-
Pluto and Proserpine or, The Triumphs of Ceres, 24 October 1860
-
A Spec in China, 24 July 1860
-
Rolla of Ours or, The Shameful Goings-on of the Spaniards in Peru , 19 January 1858
-
The Vice-regal Visit or, A Sensationat The Pivot, 28 October 1856
-
Oysters at St Kilda, 23 August 1856
-
The Mirror of Beauty or, Little Snow White and the Seven Dwarfs, 5 October 1855
-
The Mikado, or The Town of Titipu, 20 February 1886
-
Helen's Babies, 20 July 1877
-
The Shaughraun, 29 May 1875
-
Humpty Dumpty, Who Sat on a Wall or Harlequin King Arthur, 28 December 1874
-
Twinkle, Twinkle, Little Star or Harlequin Jack Frost and the Old Woman who Lived in a Shoe, 2 January 1874
-
Riquet with the Tuft; or, Harequin Old Mother Shipton, The Silver Champions and Darwin's Genealogical Tree, 26 December 1872
-
Quite Alone, 7 November 1872
-
Papillionetta or, The Prince's Little Feat and the Big Beatle Crusher, 10 April 1871
-
Goody Two Shoes and Little Boy Blue, 26 December 1870
-
Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, 25 March 1869
-
Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, 24 December 1868
-
King Arthur or, Launcelot the Loose, Gin-ever the Square, and the Knights of the Round Table and Other Furniture, 31 October 1868
-
Little Jack Horner the Original Hero of the Corner or, The Fairy Cooks of Our Christmas Pie, 26 December 1860
-
Harlequin Robin Hood or, The Bold Huntsman of Sherwood and the Fairy Locallotta, 27 December 1858
-
Harlequin Robin Hood or, The Bold Huntsman of Sherwood and the Fairy Locallotta, 27 December 1858
-
Harlequin Whittington and His Cat, 26 December 1857
-
The Fall of Sebastopol or, The Campaigners, 17 August 1857
-
Coppin's Adventures with a Polish Princess, 31 January 1857
-
Dred or, A tale of the Great Dismal Swamp , 24 January 1857
-
Multiplication is Vexation, Division is as Bad or, Harlequin Rule of Three and The Genius of the Crystal lake of Learning, 26 December 1856
-
What a Man May Suffer in Victoria, 31 October 1856
P G Wodehouse
- Book and Lyrics, Lyricist, Writer
-
All for Gold, or Fifty Millions of Money, 6 June 1877
-
The Shaughraun, 29 May 1875
-
Humpty Dumpty, Who Sat on a Wall or Harlequin King Arthur, 28 December 1874
-
Twinkle, Twinkle, Little Star or Harlequin Jack Frost and the Old Woman who Lived in a Shoe, 2 January 1874
-
Riquet with the Tuft; or, Harequin Old Mother Shipton, The Silver Champions and Darwin's Genealogical Tree, 26 December 1872
-
Papillionetta or, The Prince's Little Feat and the Big Beatle Crusher, 10 April 1871
Harry Burton
- Conductor, Musical Director
Victor Champion
- Musical Arranger, Musical Director
John Forde
- Actor, Actor and Singer
-
The house that Jack Built or, Harlequin Progress and the Loves, Laughs, laments and Labours of Jack Melbourne and Little Victoria, 27 December 1869
-
Gulliver on his travels or, Harlequin and Father Christmas and the fairy queen of the silver acacias, 26 December 1866
-
The Gladiator of Ravenna, 1 July 1865
-
The Enchanted Island or Harlequin the Mysyterious Prince and the Magician Father, 24 December 1864
-
Ali Baba, or The Thirty-Nine Thieves, 3 September 1864
-
Harlequin Arabian Nights or, The Fast Young Turk and The Pretty Russian, 26 December 1862
Percy Kehoe
- Actor, Musical Director, Orchestral Leader
Mr Little
- Actor, Scenic Artist
-
All for Gold, or Fifty Millions of Money, 6 June 1877
-
Riquet with the Tuft; or, Harequin Old Mother Shipton, The Silver Champions and Darwin's Genealogical Tree, 26 December 1872
-
Quite Alone, 7 November 1872
-
Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, 25 March 1869
-
Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, 24 December 1868
-
Tom Tom the Piper's Son and Mary Mary Quite Contrary, 26 December 1867
-
Santa Claus, the House that Jack Built and the Historical Giant Killer, 26 December 1895
-
Aladdin and the Wonderful Lamp, 26 December 1894
-
Cinderella, her Sisters, her Sorrows, and her Little Glass Slipper or, the Fairy Godmother who wouldn't let the Bad, 24 December 1884
-
Jack and the Beanstalk and See-Saw, Margery Daw or, Harlequin Man in the Moon, The Love Birds of Fairyland, 26 December 1882
-
Sinbad the Sailor; or The Pet of the Pearl; The Old Man of the Sea; and the Dwarf of the Diamond Valley, 27 December 1880
-
The Babes in the Wood, 26 December 1879
James Peake
- Actor, Scenic Artist
-
Aladdin, being an Old Version of a New Lamp , 26 December 1890
-
Sinbad the Sailor or, Tinbad the Tailor and the Wicked Ogre and the Good Fairy Submarine, 26 December 1888
-
Jack the Giant Killer and Little Bo Peep or, Harlequin King Arthur and the Enchanted Sheep, 24 December 1887
-
The World, 11 June 1887
-
Sleeping Beauty or, Harlequin Mother Goose and the Seven Champions of Christendom, 26 December 1885
-
Cinderella, her Sisters, her Sorrows, and her Little Glass Slipper or, the Fairy Godmother who wouldn't let the Bad, 24 December 1884
-
Gulliver on his travels or, Harlequin and Father Christmas and the fairy queen of the silver acacias, 26 December 1866
-
A Night at Emerald Hill, 12 June 1863
-
The Yellow Dwarf or The King Of the Golden Mines, 25 April 1859
-
Harlequin Whittington and His Cat, 26 December 1857
-
Dred or, A tale of the Great Dismal Swamp , 24 January 1857
-
Multiplication is Vexation, Division is as Bad or, Harlequin Rule of Three and The Genius of the Crystal lake of Learning, 26 December 1856
Will Quintrell
- Conductor, Musical Director
George H Smith
- Adminstrator, Business Manager
H D Smith
- Lighting Designer
-
Aladdin, being an Old Version of a New Lamp , 26 December 1890
-
Cinderella, Gold and Silver and the Little Glass Slipper, 26 December 1889
-
Jack the Giant Killer and Little Bo Peep or, Harlequin King Arthur and the Enchanted Sheep, 24 December 1887
-
Robinson Crusoe, 26 December 1886
-
Cinderella, her Sisters, her Sorrows, and her Little Glass Slipper or, the Fairy Godmother who wouldn't let the Bad, 24 December 1884
-
Whittington and His Cat, 24 December 1881
Garnet Walch
- Adaptor, Playwright, Scriptwriter
-
Goody Two Shoes and Little Boy Blue, 26 December 1870
-
The house that Jack Built or, Harlequin Progress and the Loves, Laughs, laments and Labours of Jack Melbourne and Little Victoria, 27 December 1869
-
Tom Tom the Piper's Son and Mary Mary Quite Contrary, 26 December 1867
-
Harlequin Arabian Nights or, The Fast Young Turk and The Pretty Russian, 26 December 1862
-
Harlequin Valentine and Orson or, The Task of Romance and The TRicks of the Spirit of Fun, 26 December 1861
-
Riquet with the Tuft; or, Harequin Old Mother Shipton, The Silver Champions and Darwin's Genealogical Tree, 26 December 1872
-
Jack and The Beanstalk or Harlequin Nursery Rhymes and the Pranks of the Good Little People , 26 December 1871
-
Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, 25 March 1869
-
Harlequin Robinson Crusoe or, The Nimble Naiad, The Lonely Squatter and the Lively Aboriginal, 24 December 1868
-
King Arthur or, Launcelot the Loose, Gin-ever the Square, and the Knights of the Round Table and Other Furniture, 31 October 1868
Henry Hamilton
- Librettist, Playwright, Writer
-
Humpty Dumpty, Who Sat on a Wall or Harlequin King Arthur, 28 December 1874
-
Papillionetta or, The Prince's Little Feat and the Big Beatle Crusher, 10 April 1871
-
Goody Two Shoes and Little Boy Blue, 26 December 1870
-
Sun and Shadow or, Mark Stornway's Nephew, 1 October 1870
-
The house that Jack Built or, Harlequin Progress and the Loves, Laughs, laments and Labours of Jack Melbourne and Little Victoria, 27 December 1869
-
Cinderella, her Sisters, her Sorrows, and her Little Glass Slipper or, the Fairy Godmother who wouldn't let the Bad, 24 December 1884
-
Aladdin or Harlequin, the Wonderful Ring, the Magical Lamp and the Pretty Young Maiden who Loved a Great Scamp ..., 26 December 1883
-
Whittington and His Cat, 24 December 1881
-
Sinbad the Sailor; or The Pet of the Pearl; The Old Man of the Sea; and the Dwarf of the Diamond Valley, 27 December 1880
-
The Babes in the Wood, 26 December 1879
Harry Musgrove
- Adminstrator, Business Manager
Nellie Payne
- Actor, Actor and Singer
John Renno
- Actor, Mechanist, Properties Master
-
Aladdin or Harlequin, the Wonderful Ring, the Magical Lamp and the Pretty Young Maiden who Loved a Great Scamp ..., 26 December 1883
-
Jack and the Beanstalk and See-Saw, Margery Daw or, Harlequin Man in the Moon, The Love Birds of Fairyland, 26 December 1882
-
Harlequin Robin Hood or, The Bold Huntsman of Sherwood and the Fairy Locallotta, 27 December 1858
-
The Magician's Daughter or, Harlequin King of the Golden Island and the Fairy Rifle Corps, 26 December 1855
-
The Mirror of Beauty or, Little Snow White and the Seven Dwarfs, 5 October 1855
Irene Caffyn
- Actor, Actor and Singer
Marcus Clarke
- Adaptor, Playwright, Writer
Mr Douglas
- Actor, Scenic Artist
-
Riquet with the Tuft; or, Harequin Old Mother Shipton, The Silver Champions and Darwin's Genealogical Tree, 26 December 1872
-
The house that Jack Built or, Harlequin Progress and the Loves, Laughs, laments and Labours of Jack Melbourne and Little Victoria, 27 December 1869
-
Harlequin Arabian Nights or, The Fast Young Turk and The Pretty Russian, 26 December 1862
-
Multiplication is Vexation, Division is as Bad or, Harlequin Rule of Three and The Genius of the Crystal lake of Learning, 26 December 1856
Sidney Everett
- Actor, Stage Manager, Assistant
Maud Fane
- Actor, Actor and Singer
George Fawcett
- Actor, Actor-manager, Playwright
Linda Foy
- Actor, Actor and Singer
W Gardiner
- Properties Master, Properties Master / Mistress
Mr Gordon
- Actor, Scenic Artist
Powis Griffiths
- Actor, Stage Manager, Assistant
Joseph Harker
- Scenic Artist, Set Designer
William Hoskins
- Actor, Actor-manager, Lessee
David Jefferson
- Actor, Stage Manager, Assistant
Henry Leopold
- Actor, Choreographer, Director
Tom Leopold
- Actor, Director, Assistant
W S Lyster
- Actor, Director, Lessee, Producer
Hazel Meldrum
- Actor and Singer, Choreographer, Dancer
Robert Robertson
- Adminstrator, Business Manager, Ballet Master/Mistress
John Stuart
- Actor, Stage Manager, Assistant
Mr C Wilson
- Actor, Dancer, Scenic Artist
Mons Alias
- Costume Co-ordinator
Mr Allison
- Actor, Properties Master
Maude Amery
- Actor and Singer, Dancer
Desmond Carter
- Librettist, Lyricist, Writer
Alfred Cellier
- Composer, Conductor, Musical Arranger
David Cope
- Musical Arranger, Musical Director
Wilfred Cotton
- Director, Assistant to the
H Coy
- Musical Director
Buddy De Sylva
- Book and Lyrics, Composer, Lyricist, Writer
Tilly Earle
- Actor, Costume Maker
Charles Fry
- Actor, Scenic Artist
George Grossmith
- Adaptor, Book and Lyrics, Lyricist, Writer
W H Harrison
- Musical Arranger, Understudy
-
The Mikado, or The Town of Titipu, 20 February 1886
-
Cinderella, her Sisters, her Sorrows, and her Little Glass Slipper or, the Fairy Godmother who wouldn't let the Bad, 24 December 1884
-
Jack and the Beanstalk and See-Saw, Margery Daw or, Harlequin Man in the Moon, The Love Birds of Fairyland, 26 December 1882
Basil Hood
- Book and Lyrics, Writer
Mrs Jager
- Costume Maker, Designer
Frank Mandel
- Lyricist, Playwright, Writer
A L Pearce
- Actor, Stage Manager
Roy Redgrave
- Actor, Actor and Singer
Walter Rice
- Music Adaptor, Musical Arranger
Mrs Robins
- Costume Co-ordinator
Laurence Schwab
- Book and Lyrics, Lyricist, Writer
Dick Shortland
- Actor, Stage Manager, Stage Manager, Assistant
B C Stephenson
- Librettist, Playwright, Writer
Herr Strebinger
- Actor, Conductor, Musical Arranger
James T Tanner
- Composer, Playwright, Writer
Fred Thompson
- Adaptor, Book and Lyrics, Librettist
Kiera Tuson
- Actor, Actor and Singer
E Vinson
- Properties Master
John Wallace
- Director, Producer, Stage Manager
Violet Yorke
- Actor, Actor and Singer
E Bromley
- Wardrobe Master / Mistress
J Bruce
- Actor, Administrator
George Conyngham
- Actor and Singer, Stage Manager, Assistant
H Diederichsen
- Composer, Musical Arranger
Lina Edwin
- Actor, Actor and Singer
Fred England
- Actor, Actor and Singer
Edmund Finn
- Adaptor, Scriptwriter
Stanley Grant
- Actor, Circus Style Performer
Lorenz Hart
- Lyricist, Music and Lyrics
Gustav Kuster
- Musical Arranger, Orchestral Leader
Lance Lister
- Actor, Actor and Singer
Flossie Lusk
- Actor, Actor and Singer
M Massartic
- Actor, Choreographer
J H Nunn
- Actor, Stage Manager
Robert Reece
- Librettist, Scriptwriter
A Jnr Reiff
- Conductor, Musical Arranger
E W Royce
- Actor, Director, Playwright, Producer, Scriptwriter
Vickery
- Actor, Performer
Zoe Wenke
- Actor and Singer
Ellen Wood
- Author, Playwright
Mrs Beath
- Costume Co-ordinator
Berg
- Musician, Trombonist
H Berte
- Musical Arranger
Madame Bima
- Costume Co-ordinator
H Cooke
- Lighting Designer
Mr Dennis
- Properties Master
Frank Emery
- Playwright, Producer
H Everett
- Actor and Singer
J Flanagan
- Stage Manager, Assistant
Mr Ford
- Costume Maker
George Goodman
- Adminstrator, Business Manager
Sam Gray
- Actor, Fight Director
John Hall
- Orchestral Leader
W Hogg
- Scenic Artist
T A Howard
- Actor, Stage Manager
Gus Kahn
- Music and Lyrics
M Marks
- Costume Co-ordinator
G Massey
- Properties Master
T Morgan
- Actor and Singer
C Neild
- Scenic Artist
Sydney Nelson
- Composer, Musical Arranger
J B North
- Stage Manager, Assistant
Mr O'Kane
- Lighting Designer
W Robins
- Musical Arranger
J Rodgers
- Properties Master
Paul Rubens
- Music and Lyrics, Writer
William Russell
- Adminstrator, Business Manager
Annie Seddon
- Choreographer, Assistant
A Shave
- Administrator
Mrs Smith
- Costume Co-ordinator
Miss Taylor
- Actor, Costume Co-ordinator
B Thorn
- Actor-manager
Harry Thwaite
- Set and/or Property Maker
Zara
- Dancer
|
Resources |
-
Advertisement:  Advertising, Amusements, The Argus, 2 November 1872, 8
-
Article:  A STAGE ASSAULT CASE. (1904, April 2), The Age, 2 April 1904, 11
-
At last the building so long known to Melbourne citizens as the theatre par excellence of the city has gone, following closely in the wake of the Haymarket. At half-past 12 this (Wednesday) morning the warning notes of the fire-bell rang out, and the word soon spread, first that the conflagration was in the heart of the city, and next that the Theatre Royal was the scene of the disaster. The announcement was only too true. The edifice built by Mr. Black nearly twenty years ago, and in which nearly every actor of eminence who has visited Australia has appeared, from Brooke to Carden, was soon seen to be hopelessly committed to the flames. St Georges-hall, it was feared at first, would be involved in the destruction. In the hurry and rush of the sudden tumult it was no easy matter to glean any information as to the how and the where of the commencement of the fire. The only thing certain was that the body of the Theatre Royal was in flames; that pit, stalls, and dress circle were blazing in a fire about which there was no sensational effect beyond that furnished by stern reality. It appears, from what we can hear, that shortly after 12 o’clock Mr Pitt, the lessee of the Café, was sitting with his wife in Mr M’Donalds, the photographer’s when he was informed that the theatre was on fire at the back. Previously to this smoke had been noticed by some passers-by, and warning had been given to the brigade. But when Mr. Pitt reached the spot he found that the back portion of the stage, between the paint-frame and the dressing rooms, was on fire. The painters labourer, Kenneth Douglas, was at work with the hose, which is always kept on the premises, and Mr Pitt at first felt confident of keeping the fire under or at least in the rear of the paint frame. It was found, however, impossible to do this, and both Mr. Pitt and his assistants had to retreat, the flames rapidly catching the flies, and, subsequently, the body of the house. By this time the brigade were on the ground, the full force of the water was played on to the blazing mass, and all Melbourne knew that the Theatre Royal was on fire. The scene of the burning house was being played out in earnest. Seen from the street the effect was perhaps, not quite so gorgeously terrible as was the burning of the Haymarket. The fire was confined entirely to the theatre itself, and the vestibule being comparatively closed in, there was not the seething, boiling sea of fire shut in by red-hot iron gates, which was visible to the crowd in the case of the Haymarket. The continuous and active exertions of the firemen enabled them to keep down the fire, and by 2 o’clock it became evident that beyond the body of the theatre itself no damage would be done. St Georges hall was uninjured, the front of the Café was untouched, and though Mr Pain’s collection had to be carried out into the street, no damage was done to any property in the neighbouring buildings. But the old theatre itself has gone. The stage to which so many favourites have been recalled to receive warm applause was at 1 o’clock this morning a raging mass of flames and falling timber, the roaring and the crackling of burning wood, and the hissing of the rapidly played out water, taking the place of applause or encore. Independently of being deluged with water, the Café itself was not injured, and we believe also that Mr Pitt is fully insured. Of the origin of the fire nothing is as yet known, but it is believed to have originated in the property-room, which, with the dressing-room, is just behind the paint-frame on which Hennings prepared so many of his masterpieces. How the mischief began no one can tell. – telegraph.
Article:  BURNING OF THE THEATRE ROYAL, MELBOURNE. (1872, March 27)., The Mercury (Hobart, Tas. : 1860 - 1954), 27 March 1872, 3
-
The Melbourne Argus of the 20th describes at considerable length the destruction of the Theatre Royal, early that morning, by fire; and further particulars are given in the issue of the 21st. The first sign of the disaster was seen shortly after midnight of the 19th, when the fire-bell sounded, and a cloud of dark smoke and then a long narrow flame were observed ascending from the back of stage portion of the theatre. Not many moments after – the volume of smoke having largely increased – a portion of the back roof fell in, a pillar of fire 50ft. high shot up towards the sky, and before one could count a hundred, the flames shot along the roof of the theatre with a speed that resembled the ignition of a train of powder. From the point above described the flames proceeded with steady pace, first to spread over the stage, and thence over the whole of the vast interior of the house. The area of the Theatre Royal stage was enormous, and it was crowded with light wooden work in the shape of the frames of scenery, dressing-rooms, properties, and suchlike. These were soon enveloped in roaring rose-coloured flames the mere heart of which was sufficient to ignite the wood seats in the pit, and then the box circle, the upper box tier, and the galleries, which reached to the ceiling. The iron roof lasted after this but a second or so, and then there rose to the sky such a vast volume of bright fire as made the few thousand persons in the street (for at no time were the spectators particularly numerous) yell in their mad excitement.
The United Insurance Brigade and other brigades soon arrived at the fire, and at imminent risk poured streams of the Yan Yean into the roaring flames. At first the water appeared only to add new fuel; but in time the value of the efforts made was apparent. The fire was kept within the four walls of the theatre, and what promised to be an unsurpassable disaster was stayed within an hour and a half of the first outbreak.
The building was actually on fire for some time before the fact became known outside. A watchman named English, who slept on the premises, had lain down on a sofa but had not fallen asleep, when he observed signs of burning in the neighbourhood of the dressing rooms. He aroused the gasman, Goulding, who was asleep, and the two got the hose, and did what they could to extinguish the fire. A painters labourer, and Mr. Pitt, the lessee of the café in front, came to their aid. The fire, however, had gained a hold on very inflammable materials such as the light wooden frames and the canvass of the scenery, and increasing rapidly, compelled them to beat a retreat. People then were hammering at the back door, and were admitted by Goulding; but, as English stated, from the time when he first saw the fire till he ran away only about ten minutes elapsed, and in that time the flames had spread as if the place were made of tinder.
Great alarm and confusion were caused by the fire in Little Bourke-street, and in James Lane, behind the theatre, where swarms of Chinese inhabit miserable tenements, but these were protected by the height of the theatre walls. In Bourke street, in the immediate neighbourhood, were St Georges Hall, Pain’s Museum of Australia and Polynesian curiosities, Mr McDonald’s photographic establishment, and the Café de Paris. Here the chief mischief was done by the crowd, who rushed in and recklessly turned the contents of the houses into the streets. At St Georges Hall this work of destruction was soon checked (as was also the danger from the fire itself, at one time very great), so they contented themselves with howling and dancing on the stage and endeavouring to compel the manager, whom they had captured, to give them a song. At Mr Macdonald’s cameras, cases of negatives, packages of portraits &c, were tossed out in confusion. At Mr Pain’s the collection of works of art, of entomological specimens, and curiosities of various sorts, brought together by Mr Pain and his wife as the work of their lifetimes, were hurried into the street. Fortunately, however, the loss really suffered in this case was but trifling. Mr Pain was not insured.
In the theatre the destruction has been complete. All traces of dress-circle, stalls, boxes, pit, and gallery have been swept away, saving a few charred fragments, while the stage, and all the apartments attached thereto, have entirely vanished. From the division wall which cuts off the café, cloaking room, &c, from the auditorium of the theatre at the one end to the property-room abutting on Little Bourke street at the other, is simply a blank space, with not a stick standing to obstruct the view. The framework of the dress circle, boxes, and gallery, which dropped into the pit and stalls, have been completely devoured by the flames, and the roof of the building has shared the same fate. Instead of tiers of boxes and rows of seats, over-looking a stage and orchestra, there is now a yawning space and floor of blackened embers. No vestige of roof remains, and bare brick walls mark the place where a fine theatre lately stood. In St George’s Hall the flames actually penetrated the roof, and the rest at one time was imminent, but the actual damage can be easily repaired, and the performances have not been interrupted. Mr Pitt, of the café was fully protected his insurance amounted to £700, and the damage to about £800. Mr MacDonald held an insurance for £700, and a special one for £100 upon a grand piano, which the crowd rolled down the staircase. Mr Joseph, a draper, has lost a large amount of valuable stock by the clearing out process, which his insurance is not expected to cover. Mr Coppin’s position, it appears, is worse that was at first believed. The theatre was originally insured for £4000, and it was thought that there was still current a policy for £1000, but it turns out that this policy expired a few months ago, and that the insurance company refused to take the risk again.
As to the remains of the build, the City surveyor has expressed the opinion that the side walls, especially the western one, have been rendered unsafe by the action of the fire.
Article:  BURNING OF THE THEATRE ROYAL, MELBOURNE. (1872, March 28), The Maitland Mercury, 28 March 1872, 3
-
Article:  James Griffin, Wren, John (1871–1953), Australian Dictionary of Biography Online, 1990
-
As Mr. Coppin pointed out, he got no satisfaction from Lord Canterbury, notwithstanding loud professions of honor and a desire to do the correct thing. Certainly Lieutenant and Aide-de-camp Rothwell sent a cheque for three guineas to the Official Assignee of Mr. Roberts' estate years after that unlucky manager filed his schedule. That payment did Mr. Roberts no good, nor yet any of Mr. Roberts' creditors. The house of Canterbury was always impecunious. The eldest son was as a rule, up to his neck in debt, and in trotting round with the Duke of Edinburgh did things generally on the nod. On his return to England he wiped out his debts by a certain process of whitewashing which has been somewhat frequent of late years amongst the British aristocracy. As an evidence of the impecuniosity of the family, it may be mentioned that the dead-head Viscount held a small sinecure worth £200 a year, some petty legal office in London, which he never saw, but for which he drew the salary with surprising regularity. And yet the Governor asserted that he always paid his way into the theatres and other amusements.
About the time that Mr. Coppin was having it out with Lord Canterbury, there was another mild sensation in the Melbourne theatrical world. Thirty years ago there was an eccentric genius in Sydney named WALTER HAMPSON COOPER.
As a journalist and playwright Mr. Cooper held a fairly distinguished position. He studied for the Bar, and was called, held a few briefs, chiefly in criminal cases, and was elected to the Legislative Assembly for East Macquarie. He sat in but one Parliament, a lapsus linguae getting him his quietus. He said, in debate, that all the outfit a free selector needed was a harness cask and bullet mould, and although East Macquarie was not much of a selectors' electorate, the biting sarcasm told, and at the ballot at the succeeding election Mr. Cooper was promptly fired out.
In his leisure time Mr. Cooper wrote a drama, 'Foiled,' and toured with it himself. At Sandhurst, Victoria, he struck a snag. His company was a good one, and included Stuart O'Brien, Nat Douglass, and others. The experiment at Sandhurst did not turn out well. It turned out well so far as the theatregoers were concerned, and so far as the critics were concerned, and as one cynic at the time said, it possibly turned out good for the author, but that the actors were satisfied was quite another matter. The transaction at Sandhurst had a very ugly appearance as far as the author-manager was concerned. For while the author-manager was on his way back to Sydney, certain bits of paper given to members of the company as payment for salaries were returned with the mystic letters 'N.S.F.' It may be assumed that the actors were not quite enraptured with their employer.
In answer to some sharp strictures in the press, Mr. Cooper explained that he did not assume the position of an author-manager; that 'Foiled' was not a success at Sandhurst, and that he did not obtain the services of any person without paying for them. Briefly, Mr. Cooper put the case thus :— 'Being on the point of returning to Sydney, I met Mr. Stanley, of the Sandhurst Theatre, who wished to produce 'Foiled' at that place. Not being certain that Mr. Stanley would have a company strong enough at that place, I delayed giving a decision on Mr. Stanley's offer, In the meantime it was suggested to me that as the company then playing at the Princess' Opera House was about to break up, I might arrange with certain members of that company—let them have the drama, travel with it, play it where they pleased, pay their own salaries and expenses out of the money accruing out of its representation, and divide the profits, if there were any, equally with me. I spoke first to Mr. Douglass on this matter. He agreed to the arrangement, and went with me to Mr. O'Brien, who, after we had some conversation, agreed to join in the enterprise. Mr. Stanley's offer was discussed, and Mr. O'Brien was for taking the theatre at Sandhurst, and taking a complete company to play 'Foiled' there. As, however, the Princess' Company would not be free to leave Mr. Bayliss for a fortnight, it was decided that I should go to Sandhurst to arrange with Mr. Stanley. I did so simply because Mr. O'Brien was unable to go. If Mr. O'Brien had been free to quit Melbourne, he would have gone to Sandhurst and I would have gone to Sydney, leaving the whole thing in his hands. Bear in mind that Messrs. O'Brien, Douglass and Co. were to take 'Foiled' and my other pieces, pay their own salaries, etc., out of the receipts, and divide the profits with me. I, in fact, let them my pieces on sharing terms. I was not author-manager of the company, Mr. O'Brien and Mr. Douglass had no more right to claim a salary from me
than you have; but I admit that in the cases of Miss Shepparde and Mrs. Jones I have made myself to a certain extent liable. Now, how did I act? First of all I paid the travelling expenses of Mr. O'Brien, Mr. Douglass, Miss Shepparde, and Mrs. Jones from Melbourne to Sandhurst. Then at the close of the first week I handed over to Mr. O'Brien the whole of the money, in cash, paid me by Mr. Stanley, without deducting the expenses paid out of pocket, and, at Mr. O'Brien's request, I gave him certain post-dated cheques to meet the company's expenses in case the second week at Sandhurst should not prove remunerative. All this I did, though, mark you, neither Mr. O'Brien nor Mr. Douglass had a claim upon me to the extent of a farthing; and for doing this, out of a pure desire to save these people annoyance, I am pilloried in the 'Australasian.' By the terms of our agreement, even the railway fares from Melbourne to Sandhurst should have came out of the proceeds of the piece, and not out of my pocket.
'I came down to Melbourne, and there I found that a cheque given me for some scrip (a cheque for £54) was valueless, and that consequently I would not have funds to meet the cheques given to Mr. O'Brien. I wrote at once and told him so; and there the matter ought to have ended as far as I was concerned, for those cheques were advanced as a loan, and not given by me as manager of the company responsible for their salaries. The receipts for the week in Sandhurst amounted to £127 16s 6d. Of this I received from Mr. Stanley £20 18s, and of that sum Mr. O'Brien received £18 2s 6d. I had no money left at all. I had not even sufficient to pay the passage of myself and wife to Sydney. You say truly that Mr. O'Brien holds my dishonored cheques; but you might have said, also, that Mr. O'Brien had no right to demand from me the money those cheques represent, and that he knew a week before he presented them that they would be dishonored.'
It is clear, therefore, from Mr. Cooper's explanation, that he made no money by the production of 'Foiled' at Sandhurst. But though Walter Cooper disclaimed any managerial responsibility in connection with the performance of the play there, he took a considerable share in the arrangements, and his connection looked very like management. When the intention of producing 'Foiled' at Sandhurst was first spoken of, it was stated that Mr. Cooper was going to travel with the company to the other colonies, in the same way that Fred Younge travelled with his 'Caste' company. The project was mentioned in several of the newspapers, and as Mr. Cooper was in Victoria at the time, he had every opportunity of correcting this statement if he had thought proper. Mr. Cooper could not wonder, therefore, that something more than a merely general impression prevailed as to his being in the position of manager to what might be termed the 'Foiled' Company. Such being the impression, it is nothing surprising that, coupling his sudden departure from Melbourne with the dishonoring of the cheques given by him to a member of the company, the conclusion should have been arrived at that he had left the colony to escape his managerial responsibilities. As one of the earliest efforts at Australasian dramatic authorship, Mr. Cooper's venture was hailed with satisfaction, and the public, for the time, was gratified that he had cleared himself.
But Mr. Stuart O'Brien and others had something to say in reply to Mr. Cooper. Dating from the Theatre Royal, Ballarat, January 9, 1872, Mr. O'Brien writes :-
'Sir,— I am sorry to contradict Mr. Cooper's statements, but, in justice to Mr. Douglass and myself, I must do so. Mr. Cooper's engagement with us was to pay us our Melbourne salaries under any circumstances. He did so for the first week, and handed me cheques for the following week, to be paid by me to Mrs. Jones, Miss Shepparde, Mr. Douglass and Mr. O'Brien. If the receipts of 'Foiled' reached, as they did in Melbourne (say) £100, the profits were to be divided, after salaries and expenses— Mr. Cooper one half, Mr. Douglass and self the other half.
'I enclose you Mr. Cooper's letters. You will find by one of them he states that there will be money enough in the bank to meet the cheques he gave me. They were no loan, as Mr. Cooper and I had taken the Adelaide theatre between us, and his cheques for £20 and £15 were from him to me as his partner, and to pay his share of the expenses to Adelaide.
'Mr. Cooper's last words to me were : 'If the salaries come in, do not use the cheques, and pay into my credit any balance that may be left.' There was £7 10s, I think, coming to Mr. Cooper from Mr. Stanley, which Mr. Stanley paid me in two of Mr. Cooper's dishonored cheques amounting to £10 4s 6d.
'On coming to Melbourne our cheques were presented at the bank and returned N.S.F., and I may say that I had every confidence in Mr. Cooper's statement that he had funds in the City Bank of Sydney; otherwise I would not have involved myself as I have done.'
Mr. Douglass, writing from the same place, says : 'Allow me to endorse every word of the above, and at the same time to express my sorrow that this matter should have been made public. In justice to ourselves, Mr. O'Brien and myself have no other course open than this: stating the truth.'
Mr. O'Brien produced several letters and documents to corroborate his statement. In a letter from Mr. Cooper to Mr O’Brien, under date November 21, is the following, relating to the arrangements for the tour alleged to have been in contemplation:— 'We can play here (Sandhurst) for a fortnight, then go to Castlemaine, and then go to Ballarat or to Hobart Town for the Christmas. After Hobert Town we may visit Ballarat or Adelaide. I leave you to arrange these matters, and, of course, will leave all future arrangements in your hands. My part of the business will be simply to go forward as agent, and bill the places where we intend to open.' In a letter dated November 22, Cooper says : 'Bayliss has not got the Ballarat theatre. We had better secure it, and also the Hobart Town theatre for Christmas. Do you think it worth while playing in Castlemaine?' In one letter dated November 30, speaking of the arrangements, Cooper says: 'I am to find you, Douglass, Miss Shepparde, no one else. Now, I don't want to break my word with Appleton, though the engagement was only a contingent sort of affair.' A document in Mr. Cooper's handwriting, dated December 9, contains the following: 'Received from Mr. Cooper, cheques postdated for £6, £5, £5, and £7, salaries of Miss Jones, Miss Shepparde, Mr. Douglass, and Mr. O'Brien, to December 16 next; also one bank cheque to be filled in for a sum not exceeding £35, for company's expenses.— F. Stuart O'Brien.' These cheques were dishonored, and on December 19 Mr Cooper wrote to Mr. O'Brien regretting the unfortunate turn things had taken, and offering to give him the play of 'Foiled' as compensation for his losses. He says: 'I think, if I place 'Foiled' in your hands, make it over to you as your sole property, you may be able to square yourself and me too. I therefore make the piece over to you for the nominal sum of £100— that is to say 'Foiled' is your property, if you like to have it for that price, with the option of paying me the money when it suits your convenience, and if it never suits your convenience never to pay me. This is the only reparation I can make you, I hope you will be able to arrange for me with the other people, whose money I will pay as soon as I can.'
From this it must be gathered that Mr. Cooper did intend to travel with a 'Foiled' company; that he did make himself responsible for the salaries, and that not being able to pay them, he offered reparation to Mr. O'Brien, and promised to pay the others as soon as possible. Cooper returned suddenly to Sydney, and brought upon himself a lot of odium.
There was a partnership subsequently between, if I remember rightly, J. J. Bartlett, Mr. Cooper, and a gentleman who belonged to a minstrel company. After producing certain of Mr. Cooper's plays in Sydney and other New South Wales towns, the party intended touring the United States. I think, however, this also ended in failure, as did most of Mr. Cooper's ventures. The unfortunate gentleman, after many domestic troubles, joined the great majority at an early age.
Mr. Bartlett, whose wife was a Miss Moon, sister of a distinguished musician of the sixties and seventies, came to Australia in the early sixties, having with him, they then being children, Bland and May Holt. Bartlett entered into theatrical management with Mr. William Dind, in the Prince of Wales' Opera House, Castlereagh-street, but the fire of January, 1872, dissolved the partnership and began the series of mishaps which ended Mr. Bartlett's career
upon the stage of this life.
In the articles re Barry Sullivan ('Sportsman,' September 7, 1904) the name of Mr, Wilton cropped up, he being the gentleman who held the lease of the Theatre Royal, Melbourne, when Mr. Sullivan arrived. This gentleman came to Sydney with Mr. Sullivan, and, as mentioned in Mr. Amory Sullivan's letter, committed suicide at Tattersall's Hotel, Pitt-street. Mr. Wilton had a son, H. D. Wilton, who, late in 1871, died at Church-street, South Shore, Blackpool, England, at the early age of 29 years. In Australia he had acted as agent for Lady Don, and returned with that lady to England. Young and volatile, he did not take that care of himself which a man of more mature years would. It is to his credit, that he stood by Lady Don in all her troubles incidental on the management of the Newcastle Theatre, and his death was not only acutely, felt by Lady Don, but by a large circle of friends and acquaintances.
The end of 1871 and the beginning of 1872 were eventful years in matters theatrical in Melbourne. Added to those mentioned in recent articles, the Theatre Royal went down by fire in January, 1872, a few weeks after the Prince of Wales' Opera House in Castlereagh-street met a similar fate.
(To be continued.)
Article:  Joseph Michael Forde, ANNALS OF THE TURF AND OTHER PASTIMES In New South Wales and Elsewhere. No. LXXVI., Sydney Sportsman, 26 October 1904, 3
-
In the 'Sportsman' (25/5/'04) I made casual mention of the charming singer and burlesque actress, Julia Mathews, who made her first Australian appearance in Sydney in the old Victoria Theatre, in December, 1854, when she was but ten years of age, the character being Little Pickle, in the 'Spoiled Child." Julia, however, had commenced her theatrical career at the MarionetteTheatre in Leicester-square, London. From there she went to the Strand Theatre in the opening of a pantomime produced there in 1853, while Mr. Aldcroft was manager. At the Strand she appeared in several juvenile characters with marked success, gaining the approval or the London press. At the Victoria, Sydney, Miss Mathews remained 12 months, when Mr. George Coppin induced her parents, who were always her "agent" to accept an engagement at the Olympic, Lonsdale-street, better known in those days as "The Iron Pot" from the nature of its structure. Here Miss Julia increased her popularity until she became the idol of the people. In parentheses, it may be said that in juvenile parts Julia Mathews had a rival in little Anna Marie Quinn, about whom more at another time. At the termination of her engagement with Mr. Coppin, Julia went on tour through the goldfields of Victoria, then studded with theatres, and yielding showers of gold, Dannae-like. Next we hear of her with G. V. Brooke at Melbourne Royal, in such parts as Moth in "Love's Labors Lost," the fool in "King Lear," and other juvenile Shakespearean parts. Later on, we are told, though I don't remember it, and know her career for many years, she appeared as Ophelia, Margaret Overreach ("New Way to Pay Old Debts"), and other characters of that class with Brooke. If she did it must have been as understudy to Fanny Cathcart (Mrs. Robert Heir-Darrell), or when Miss Cathcart had fallen out with the Coppin-Brooke Combination, a severance which lasted a couple of months. Miss Mathews' first appearance in burlesque was in the "Nymph of Lurleyberg." Subsequently she joined George Fawcett (Rowe, but he was never known as Rowe in Australia) at the old Princess' Theatre in Spring-street, one of the very few old houses that fell into the hands of "the knacker," instead of becoming a prey to fire, the usual fate of the theatre. At the Princess' Miss Mathews appeared in all the burlesque and singing parts, which helped to make her famous on the stage. Here also she played many light comedy parts in "The Irish Heiress," "London Assurance," etc., etc., in Irish parts such as Anne Chute in the "Colleen Bawn," in which latter, with Dick Stewart, she made a decided hit. From Melbourne Julia went to New Zealand, where she married Mr. W. H. Mumford, much to the disgust of her parents, who thus lost their "gold mine.'" After some months absence from the stage, she reappeared at the Princess', Dunedin, and at Christchurch and Hokitika. Upon her return to Melbourne, she appeared at the Haymarket under George Coppin's guidance. Here she drew great audiences, her singing and histrionic powers having matured wonderfully. From this engagement she went straight to London, where Mr. Russell, director of Covent Garden Theatre, secured her for the role of the Grand Duchess, in which, and other operatic parts, she gained much distinction. I am afraid that her visit to London was not of such a character as would enhance Julia's reputation before the world. We heard that she had attached herself to a high up member of the British aristocracy; that she kept her brougham and liveried servants, and had done with the stage. The 'cad' of the British aristocracy of the sixties was not built on the lines marital, as poor Julia soon discovered. When she severed this connection, Miss Mathews toured the Continent and America, meeting with success wherever she went. I forget who it was that piloted her, but I know that it was not Mr. Mumford. At the now famous City of St. Louis, Julia was struck down with rheumatic fever, and on May 18, 1876, succumbed to the attack at the early age of 32 years.
I do not think poor Julia's life was a very happy one. From her infancy on the boards she was the breadwinner for her parents ; her teens being simply the drudgery of the stage. Her mother's eye A never off her on the stage, and her father, who was a check-taker at the pit entrance, had his eye on her from the front. Julia was never seen without one or other in attendance. I had it from Julia's own lips at a rehearsal of "The Irish Heiress," on the stage of the old Princess', that she could have married R. O'Hara Burke, explorer, then an inspector of police at Castlemaine, and that it was her rejection of his suit that induced him to accept the leadership of the expedition, which ended so disastrously to himself and others. Yet she wore his miniature on her breast, and mourned his death. Perhaps it was a good advertisement. Having reminisced about 'old Rogers' ("Sportsman," 6/7/'04), let us have a turn at 'old Lambert.' He differed from Mr. Rogers inasmuch as he had a very long English training in good theatres before he came to Australia. I heard him on a 'farewell' benefit night (which was not a farewell), say that when he first met G. V. Brooke at the Theatre Royal, Hawkins-street, Dublin, he (J. C. Lambert) was playing juvenile parts. The actor who passed successfully the ordeal of a Dublin theatre of 60 or 70 years ago was somebody. Dublin was the top rung on the ladder of fame, which landed the actor in London. Mr. Lambert commenced his theatrical career in his native county of Norfolk, and his commencement was that of a strolling player, and he has left in a MS. autobiography some amusing recollections of his barnstorming and stroller's life. His first appearance in Australia was at the old Queen's, in Queen-street, Melbourne, another of the old houses that did not go down by fire. Strange to say, be failed to immediately impress the Melbourne public, but the time did come when the play-goers by the Yarra Yarra, next to Brooke, swore by Lambert. My first sight of Mr. Lambert was as Mr. Aspen in the "Nervous Man," G. V. Brooke being the M'Shane. Heavens! what a scream it was from start to finish! The name indicates the character. About the year 1865 there was published a handsome quarto volume entitled 'The Lambert Album.' It contained 16 character portraits of the actor, and there were but three copies of the volume published! The portraits were by the old firm of Batchelder and O'Neil. There were two portraits of Mr. Lambert as Sir Peter Teazle, as Sir Anthony Absolute, as Lord Ogleby, as Justice Shallow, as Sir John Falstaff, as Sir John Vesey, and as Daddy Hardacre. I have seen Lambert in all these characters and many more, excepting Lord Ogleby. In everything he did Mr. Lambert was as perfect as stage effect could make him. In the smallest, as in the largest, characters he was simply perfect in his make-up. As the Apothecary in, "Romeo and Juliet," a character of half-a-dozen lines, he took as much pains to make perfect as he did in Sir Peter Teazle or Anthony Absolute. Many good critics say that Lambert, as Sir Peter Teazle, has never been equalled upon the Australian stage. I have seen Wallack (Julia Harland's father), Lambert, Rogers, Coppin, Cathcart, Hoskins (Julia Harland's husband), and some others in the part, and I must admit my preference for Lambert. Mr Rogers was, as I have said, more the bucolic Sir Peter, but a fine performance nevertheless.
In the mid sixties, when Barry Sullivan, having raised the Theatre Royal and its plays to the highest pitch of excellence, returned to England, Mr. Lambert and five others, having private means, leased the theatre and made money. The five were H. R. Harwood, Richard Stewart, T. S. Bellair, Vincent, and Hennings, the scenic artist. On Mr. Vincent's death I think his widow, Miss Clevland, stepped into his shoes. It was under this management that Mr. J. C. Williamson and the genial Maggie Moore first "Struck Oil." And in this connection a good story is told. Mr. Harwood (real name Biggs, a carpenter by trade, who made his debut as an actor at the old Victoria in Pitt-street in 1855; conducted the negotiations. The Williamsons wanted a certain figure. Harwood demurred, as 'Dutch comedy' had been done to death by Emmet, and the negotiations were about to fail, when, with keen business instinct and a knowledge of what they could do with "Struck Oil," Miss Moore asked if Harwood would share the house after a certain sum for expenses, Harwood jumped at the offer, and closed with the "Muricans." How did Mr. Harwood bite his nails for weeks after, when he stood on the pavement in Bourke-street and watched the people flocking to the Royal. He and his partners gained, of course, but Harwood said that he missed "all the tat" through not giving the Williamsons the salary they asked.
At the Royal, Mr Lambert and his partners made money, and the former retired into private life at a time when his powers had reached maturity. Having only his wife, who also played occasionally, Mr Lambert's income need not be heavy to enjoy the later years of life. As a citizen he was above reproach. He was not a society man; he habitually attended divine service at St. Peter's and carried the plate, "and was so quiet, demure and respectable that he might be taken for a bank manager, or for the respectable bank clerk in a large commercial house."
Mr Lambert retired to the town where he was born to spend the evening of his life, the now cathedral city of Wells. From "Buttlands," Wells, in September 1868, he wrote to a Melbourne friend a chatty letter, in which he showed that he was perfectly satisfied with his life and its cheerful coming close: — "I am living in my native town, which possesses about three thousand inhabitants, among whom are many old school fellows and ancient friends. My life is passing very happily in reading, writing, shooting, sleep, billiards and bowls. The place is attractive enough to induce professional people to visit it. Emma Stanley was here for one night, and we had a long-chat together. We have now a company of actors, gentlemen in appearance, not devoid of talent, and playing to good houses.
On Monday next a circus opens; so you will see my dear friend, that I am not quite mentally, as I hope not for some years to be physically, buried. The happiest portion of my professional life , was spent in Melbourne, but the greatest felicity I have enjoyed from my birth I now experience.'" And when the time came to "ring down," Death found J. C. Lambert quite ready.
"Died at Hobert Town on the 19th of March, 1862, Sir William Don, aged 36 years." Such was the unexpected announcement that met the Melbourne public three days later. Ten years before that I saw the dead walls of the city of Dublin placarded with the announcement that "Sir William Don, Baronet, the Eccentric Comedian," was about to appear at the Theatre Royal. His advent to Australia had a special interest for myself and all who came from the city by the Liffey; for had not Sir William Don taken unto himself for wife one of the prime favorites of the old Queen's, in Dublin, Miss Emily Saunders? There were three of the name at the Queen's Charlotte Saunders and a brother, a co median, bow-legged, whom we gallery boys nicknamed “Bandy Saunders." But Dublin had known Sir William Don be fore he took to the stage as a profession. He had been A.D.C. to one of the Lords-Lieutenant of Ireland, and well up in Dublin society, and had well advertised himself in private theatricals before, on loss of fortune, he took to the boards as a professional. The first appearance of the Dons in Melbourne was made in 1860. Lady Don in "The Daughter of the Regiment," and Sir William in the farce of "Toodles." Just imagine a 6ft 6in man in such a character as Mr. Toodles. The Marsh troupe of child comedians had previously introduced the farce to Melbourne, when Master George played the part; the contrast between the 4ft-nothing boy and the 6ft 6in baronet was ludicrous. To add to the fun, Don had all the stage furniture made in miniature, so that he walked as easily over chairs and tables as he did over footstools. His greatest hit, however, was as Queen Elizabeth in Kenilworth burlesque, with Lady Don as the Earl of Leicester. Six feet six inches, and splendidly made up, as the red-haired virgin Queen! But Sir William Don did not confine himself to English comedy; he excelled an Bailie Nicol Jarvie, Jock Howison, Dandie Dinmont, and suchlike; but perhaps one of the most extraordinary performances he ever took part in, and certainly one of the most extraordinary that I ever witnessed, was when "The Rivals" was produced with an "Ollapodrida" company — all stars and all good men in their several lines. Amongst them was Sir William Don, as Fag! John Drew, the Irish comedian, was Bob Acres; so you may guess what a 'screamer' it was. Of Lady Don's ability no eulogy can be too high. As a vocalist and an actress she was attractive in everything she appeared in, and even without her husband she held her own on the stage until the baronet's family thought it was but right that his widow should "retire on her rank." There was no estate, but I believe the Wauchopes of Edmonstone, near Edinburgh , and Newton House, Mussellburgh, N.B., to whom the barren title went on Sir William's death, saw to the widow's comfort. Sir William Don had gone through two large fortunes before he had taken to the stage, and when he threw up his commission in the Guards and took to the boards, it was in the hope of being able to buy back his old Scottish home. In a stage speech at Melbourne, in which he advised everybody to avoid debt, he said that he had been in the hands of usurers since he was "so high," indicating about 8ft from the boards. "To owe £20," said he, "and have £19 19s 11d to pay it with, was simply misery, but with £20 1s heaven!" To a friend in Melbourne he wrote from Hobart Town, a fortnight before his death, in a very cheerful strain :— "I have been dreadfully weak and pulled down since I have been here, and in bad spirits; but within the last two or three days I have Sir Walter Raleighed wonderfully. This is the most magnificent climate in the world. Come over at once. We shall be here for a fortnight longer and then Launceston two weeks, then back to Melbourne for Adelaide. Our success has been very great, Behold the proof: Receipts at Launceston, one week £416 Receipts at Hobart Town, one week £360 Total ................................................ £776 Our share ..........................................£388
The journey from here to -Launceston is really wonderfully beautiful. You will be delighted with It. Come at once." Even then the grave was opening for him, and he knew it not. Lady Don survived him 13 years, dying in England September 20, 1873, leaving an only daughter. To Sir William Don is attributed a freak which has been set down also to the credit or debit of W. E. Gladstone. Sir William had a habit of travelling third-class on the railway out of Edinburgh. To break him off the habit, the officials one day caused a number of chimney sweepers, with their bags and brushes, to be put into the same compartment. Don took in the situation. 'Come along with me, my lands," and after "shouting" for them in the refreshment room, he purchased first-class tickets for the lot, and planted himself and the sweeps in a first-class carriage. When they reached the end of their journey the drab cloth linings of the Carriage were sooty indeed.
(To be continued.)
Article:  Joseph Michael Forde, ANNALS OF THE TURF AND OTHER PASTIMES. In New South Wales and Elsewhere. No. LXI, Sydney Sportsman, 13 July 1904, 3
-
A still-existing link between the drama of the fifties and the stage of to-day is Dr. James Edward Neild, who under a variety of pen names, has been writing in the interests of the theatre and the public for half a century. Born 80 years ago in the horsey town of Doncaster in Yorkshire, but descended from an Irish family who emigrated into England in 1642, James Edward Neild received his early education in Leeds, and in 1843 went to Sheffield to an uncle, a surgeon in large practice, and was apprenticed to him for five years. Subsequently he completed his medical studies in London at University College. He passed his examination in 1848, and thereby was privileged to add the letters L.S.A. after his name. For two years he practised his profession at Oulton, near Leeds, and was for three years house surgeon of the Rochdale General Dispensary.
*. *. *.
In 1853 he came to Melbourne on a visit, but was so taken up with that city, then in its 'roaring days,' that he decided to remain. He for a time abandoned the practice of his profession, and entered into business as a chemist and druggist with Mr. D. R. Long, the establishment being at the corner of Bourke and Stephen streets, the latter better known now as Exhibition-street. In 1857 he married the daughter of his partner, and for many years the firm of Long and Neild flourished in the pills and poultices line. But Dr. Neild had always a desire to be numbered amongst the fraternity popularly known as 'ink-slingers,' and in 1855 became one of the staff of the 'Age,' just then founded by a commonwealth of compositors. As a reporter Dr. Neild did the usual routine work of a morning journal, and when he ceased to be a reporter he became a contributor of theatrical notices to the paper. In 1856 a very readable publication appeared, printed by Shaw, Harnett and Co., owned and edited by Mr. T. L. Bright, and khown as 'My Notebook.' For this highly intellectual publication Dr. Neild was engaged to write dramatic notices. Some brilliant articles appeared, but 'My Notebook' ran its course in about a year ; a purely literary venture having 'no show' in those days. In 1856 there was a daily and a weekly 'Argus,' the latter being merely a resume of the week's news. In 1857 Mr. Edward Wilson issued the 'Examiner' from the 'Argus' office, Mr. T. L.
Bright being its first editor, and for two years Dr. Neild contributed to its columns a weekly article on the theatres, under the nom-de-plume 'Christopher Sly,' heading the articles with the transformed tinker's very happy expression :
'Let the world slip, we shall ne'er be younge.'
Mr. Wilson also issued another journal, in the interests of the squatting and farming classes, 'The Yeoman.' Eventually, in 1864, 'The Examiner,' 'The Yeoman,' and 'The Weekly Argus' were blended, and produced 'The Australasian.' For this latter journal, under the pen name 'Jacques,' and subsequently as 'Tahiti' and '***', Dr Neild praised and slated theatrical performances for years. He became a contributor to Melbourne 'Punch,' amongst other journals, notwithstanding his multifarious, duties as a critic, a lecturer in medicine at the University, editor ot the 'Australian Medical Journal,' and a general medical practitioner, Dr. Neild found time to write two comediettas, which were successfully staged.
*. *. *.
In 1855 Dr. Neild, with R. H. Horne ( 'Orion'), James Smith, John Edwards, Tom Pavey, the two Henninghams, and a few other choice spirits assembled in the 'eating house' in Elizabeth-street, Melbourne, known as Williams' dining rooms and founded the Melbourne Garrick Club. Subsequent meetings were held at Kelly's 'Argus' Hotel, next 'The Argus' office. Dr. J . E. Neild was chosen the first secretary, and held the office for some years. He also took part in some of the earlier performances of the club, chiefly in characters bordering on low comedy.
*. *. *.
It is, however, as a dramatic critic that we have to deal with the genial little doctor. In this character he had the reputation of being a hard hitter, and at times he hit so hard that he earned reprisals. One noteworthy one is in my memory at this moment. In 1858 Professor Anderson, 'The Wizard of the North,' appeared in Melbourne. None of the present generation remember this gentleman— a big, bony, braw Scot, who was born at Kincardine in 1814. Anderson's life was a series of ups and downs. In his time he played many parts. The love of the life of a strolling player early led him to the boards. During his early travels it is said that he was brought into contact with Signor Bletz, the cleverest magician of his time. New ideas entered the mind of young Anderson ; he saw, watched, and set himself to unravel the mystery of the Signor's tricks. In a short time he gave a 'magic' entertainment in Aberdeen, and met with success far beyond his expectations. Every performance of a new trick urged him on, and presently he assumed the 'nom de stage' 'The Wizard of the North,' and commenced to make for himself a name. He made a tour of Scotland, and made the acquaintance of M. Phillipe, who was as celebrated in France as Anderson was in Scotland. By great study and hard work Anderson became a great magician , constructing, even at the expense of his daily meals, the best apparatus his means would allow him, and devoting his inventive genius to new tricks. We are told that vicissitudes, struggles, hardships, and continuous, labor made up this portion of the Wizard's career. After a second tour through Scotland, Anderson worked his way into the northern and midland counties of England. After a long season in Yorkshire he proceeded to Hamburg, Sweden, Norway and Denmark. After successful visits to the several towns on the Baltic, he reached St. Petersburg, and obtained the personal patronage of the Emperor Nicholas. He remained some months in the Russian capital, earning considerable sums of money. After a tour through Russia he returned to England, via Berlin and Vienna. Shortly after his return home he appeared by command at Balmoral. In 1851 he went to America, and made a tour of the entire Union from Maine to California, and from St. Lawrence to the head of the Mississippi. His profits were great, clearly indicating his success as a magician. He then returned to England, and appeared at several of the West End theatres. His big success, however, was at the Lyceum, in the Strand. Finding this house too small to accommodate the audiences that assembled, he took Covent Garden Theatre, and there appeared in a series of dramatic parts, including , 'Rob Roy,' William' in 'Black Eyed Susan,' Rolla and other characters. On March 15, 1856, the season at Covent Garden was about to close with a performance commenced an hour after noon and continued during the afternoon until midnight, when the entire entertainment was to finish up with a masquerade. While the latter was proceeding, on the morning of the 16th, the house took fire, and in a few hours was reduced to a heap of ruins. By this calamity Anderson not only lost money, but he lost his entire apparatus, the accumulation of many years. Soon after this the Royal British Bank, in which he had invested his savings, smashed. Anderson was not, however, disheartened. He looked abroad to right himself. A most liberal offer, was made him by Mr. George Coppin, which , was accepted, resulting in his visit to Australia, engineered by Mr. E. P. Hingston. He made his first appearance at the Theatre Royal, Melbourne, in June, 1858. The management erected a platform from the opposite side of the stage, in front of the dress-circle, to the prompt side, which enabled the wizard to exhibit his tricks and magic to the occupants of the circle when occasion required. His success in Melbourne was great. Not only did he draw full houses as a magician, but his dramatic representations drew large audiences. I saw him play Rob Roy, Bailie Nicol Jarvie, Jock Houison, Dandle Dinmont, and many other Scotch characters, which, notwithstanding a lumbering gait, he played well. In characters requiring pure English he was a failure, and he knew it. After his Australian tour, Anderson visited California, India, China, Japan, Ceylon, the Sandwich Islands, West Indies, and South America. He then returned to England through America, losing a lot of his earnings through the Civil War. On his arrival in England he found himself again nearly stranded ; but, not disheartened, he again put his shoulder to the wheel, and gradually began to gather the fruits of his industry. He was now in very indifferent health, and had suffered greatly. His death took place at Darlington, in February, 1874, at the age of 60 years. His last public appearance was made in the town where he died, on January 29, where he played his last trick— that of firing a banknote from a pistol and lodging it in a candle. There was a peculiar coincidence in connection with this trick. The father of the local correspondent of a London journal furnished the material for Anderson's first trick, when a pupil, the correspondent, himself furnishing the note for the professor's last trick.
*. *. *.
Dr. Neild did not take kindly to Professor Anderson,' 'Christopher Sly' dubbed the Wizard of the North, a clumsy charlatan, and applied many other unfriendly epithets. The criticism, however, did not effect the attendance at the Royal, but a night came when Anderson had his revenge. 'Christopher Sly' was in the dress circle one night, when the professor ascended the staging, and standing right in front of the critic gave him a terrible 'tongue thrashing.' Neild sat it out, and when fairly tired Anderson returned to the stage and continued the performance.
*. *. *.
Mr. E. P. Hingston became famous as the agent of Artemus Ward, and as the manager of Messrs. Spiers and Pond's ‘Hall by the Sea,' at Ramsgate. His brother, James Hingston, recently deceased, was well known in Melbourne as a Bohemian of the wealthy order. Later on he travelled, and published his experience under the title of the 'Australian Abroad.' I met James Hingston a few months before his death, in Pitt-street, when he told me that he had learned the secret of being able to travel without baggage. James went home a couple of years ago for medical advice, but he was past medical remedies, and died of cancer. By his will he left something like £20,000 to the Melbourne Benevolent Asylum to erect a one-storied building for aged men, as, when a member of the Asylum committee he was always pained to see aged, gouty, and rheumatic men struggling up four stories of the dormitories. Pity Mr. Hingston did not give the ancients in the asylum the benefit of his money during his lifetime, as I understand there is some hitch in the will which so far has prevented the erection of the building.
*. *. *.
It was while Mr. Hingston was in Melbourne as agent for 'The Wizard,' Anderson, that a great transformation took place in the appearance of the front of the old Theatre Royal. The approaches to the upper circle, stalls, and pit were open to the general public, and became a lounge for all the deadbeats and town loafers, who congregated nightly in the hall. Mr. Hingston suggested that the hall should be a means of revenue to the proprietors of the theatre, and a source of comfort to theatre-goers. Accordingly, the place was renovated and decorated in superior style. A gallery of pictures, all Australian subjects, by 'S.T.G.' and other well-known artists of the day was secured, and the walls decorated therewith. Where are those pictures now ? They are invaluable, in whosoever's hands they may be. Natty little tables were dotted about the place, active waiters in snow white jackets introduced coffee for teetotalers, and liquors of all types for others. The place was named 'The Vestibule,' and a six penny refreshment ticket admitted the in dividual beyond the portals. The theatre ticket, of course, admitted the playgoer. The hitherto frowsy bars on both sides of the vestibule also underwent a complete change; the Hebes, dressed in black silks, and the pick of the profession at that, attended to the wants of the Johnnies of the day. It was the Hingstonian change, and the success attending Spiers and Pond's introduction of the first English eleven that laid the foundations of the fortunes of the firm, a success which culminated in the present gigantic English firm of Spiers and Pond, Limited. The Melbourne firm presented Mr. Hingston with a very handsome and valuable finger ring as a souvenir of his happy suggestion.
*. *. *.
Dr. Neild's pen helped him into a scrape with the robustious Thomas Padmore Hill, the elocutionist. This time, however, the pen was used in a private matter, though the assault arising out of it occurred in the vicinity of the dress circle of the Theatre Royal. The occurrence took place on December 21, 1876. For ; twelve months previous Dr. Neild had been attending Mr. Hill's family professionally at Mr. Hill's own request, and had never charged any fee. The doctor was extremely generous in this way to all members of the profession, the humblest member of which could always rely upon medical aid in case of necessity. Parenthetically, it may be said that Dr. L. L. Smith, son of a former lessee of Drury Lane Theatre, was equally generous in a similar direction. To Dr. Neild Mr. Hill had repeatedly expressed his gratitude for the valuable services rendered. Hill asserted that Neild had insulted his wife, but the accusation had not the slightest foundation. On the night in question Dr. Neild , was at the theatre with a party of ladies. When coming out after the performance Hill went up to him and said, 'I want to speak to you ; I am going to bring you before the public.' Neild replied, 'I cannot speak to you now ; I have some ladies with me.' Hill became very much excited, and offensive in his language, when the doctor told him to go to the devil. (Hill had had frequent interviews that evening with 'James Hennessy') Hill then struck the doctor in the face and cut his lip. A ticket collector interfered, and Neild got the ladies into the dressing room. Hill then went into the centre of the lobby, and roared out, 'That is Dr. Neild! He's a damned scoundrel ! He insulted my wife. I'll show you up, sir! I have got your letters!' The lobby was full of people coming out of the dress circle. Neild said, 'The man is drunk : it's a pity there are no means of giving him in charge.' Neild then went downstairs with the ladies, and on entering a wagonette Hill again went up and said, 'I have slapped your face, sir, and I'll do more.'
*. *. *.
The outcome of the assault was an appearance at the police court, when Dr. Neild swore that he had never insulted Mrs. Hill; he had been her medical attendant. A correspondence afterwards took place between Mr. and Mrs. Hill and Dr. Neild. The latter informed Hill as to the nature of his wife's correspondence. Mrs. Hill had separated from her husband, and lived in lodgings at Jolimont. There Dr. Neild was called in to see Mrs. Hill. Hill was not present, but the doctor sent for him, as Mrs. Hill was laboring under very great nervous excitement. Hill came at noon, much annoyed at being sent for, as he said he could do nothing for his wife. The doctor offered to prescribe for her, but she refused medicine. Hill's presence seemed to further excite the wife, and she left the premises. Hill and Neild followed her down the road towards the Yarra, but lost sight of her. She was subsequently found by the police on the road leading to Richmond, and was brought back to her lodgings. Mrs. Hill had previously been in communication with Dr. Neild, as to her literary abilities, and the doctor had spoken to Mr. Hill about it. Mrs. Hill, living apart from her husband at Emerald Hill, had received letters from Dr. Neild, but they appear to have been of a purely friendly character, though they did commence 'Chere' Amie,' and ended 'Yours always.' In the course of the hearing at the police court, Dr. Neild admitted that five years previously he had applied to have Mr. Le Roy bound over to keep the peace. Le Roy had threatened the doctor with personal chastisement on account, of something disparaging written about Le Roy's Wife, known as Madame Duret on the stage—the same who, I think, first introduced the 'Octoroon', to the Australian public. The Neild v. Hill police court case ended in the police magistrate, Mr. Call, inducing Hill to apologise and pay three guineas costs, the latter going into the pocket of 'Jack' Edwards, Dr. Neild's old Garrick Club crony, who appeared to conduct the case against Hill.
(To be continued:)
Article:  Joseph Michael Forde, ANNALS OF THE TURF AND OTHER PASTIMES. In New South Wales and Elsewhere. No. LXIX, Sydney Sportsman, 7 September 1904, 8
-
When Barry Sullivan first appeared in Melbourne, in 1862, he was fairly a frost. He was exceedingly seedy in appearance, and, having followed closely upon Brooke, was looked upon in the light of an interloper. He was introduced to Australia by Mr. Wilton, who had pioneered G. V. Brooke six years previously. The company at the old Royal was not the best that could be gathered in— added to which the theatre was in a state of sad repair, unclean and bedraggled-looking. Again, Mr. Sullivan's chief support was ; an ambitious rival, Henry Neil Warner, who did not treat the stranger as generously as he should have done. I am afraid the critics, too, were not as lenient to the newcomer as they might have been. That Sullivan felt the criticisms keenly may be gathered from the fact that on one occasion, as 'Richelieu,' he altered the text to suit his purpose— 'Beneath the rule of men entirely 'just,' the pen is mightier than the sword.' I heard him utter the lines, but they brought no responsive answer from the audience. Again, on another occasion, when hissing was prevalent, he stepped to the front and angrily exclaimed 'What do you want ? Don't think that I came here to make a name ; I brought it with me.' Mr. Barry Sullivan brought some of the trouble on to his own head. The people of Melbourne were used to seeing the leading lady share the call with the leading actor, but Sullivan always strutted before the curtain in answer to the call, which was not always for him. On such occasions the call would be for Mrs. Heir a vociferous one—when that lady would be led on by her husband, though often he was not in the cast. In after years I have seen Barry Sullivan, in the pink of fashion, leaning on the arm of Ambrose Kyte, chatting gaily with Mr. James Smith, the then recognised critic of the 'Argus,' and opposite the 'Argus' office too! and that after 'having a deadly quarrel with the critic.
Sullivan is said to have been born in Birmingham, of parents in very humble life. He was always reticent as to his early career. On one occasion he unbent just a trifle, at a national banquet given him in Dublin in December 1878, when he said : 'It may not be considered out of place if I mention, here the fact that I commenced the art which I have the honor to profess, not on the first rung of the ladder, but on the very ground. While yet a boy I stood alone in the world, without father, mother or friend, without means, and master only of 'a little Latin and less Greek.'
Sullivan was quite Homerian in a sense, inasmuch that at his death several cities claimed the honor of his birth. His parents were Irish, and he has often expressed himself as 'Irish to the heart's core,' and certainly his brogue was corroborative of his Irish origin. Some claim that Sullivan was born in Cork county, one faction standing up for Clonakilty, another for Dunmanway. It has, however, been placed beyond doubt that Thomas Barry Sullivan first saw the light on Shakespeare's birthday, April 23, 1824, in Birmingham, county of Warwick, the county which gave the immortal Will a birthplace. However, the Sullivans made Cork their home, while the future tragedian was yet a child. There he was found in 1838 a poor, ill-educated lad on the foot-board of life, as an assistant in a drapery store, a new establishment opened by one Swinburne, in Winthrop-street. From there he went to Todd's, another drapery house.
It was while in this establishment, a lad of 15, he was described as having a 'handsome Irish face, already showing in its lineaments the dawning of character and resolution, a sparse, elegant figure, and a profusion of jet-black ringlets.' So, at least thought the local players, into whose good graces he won his way. Finding that he had a tenor, light, but pleasing, he was invited to appear for one night at the old theatre in George's- street (Cork), for the benefit of one of the Misses Smith, the charming duetists, recognised as nieces of Kitty, the fascinating Countess of Essex, known on the stage as Kitty Stephens. Barry Sullivan appeared as Young Meadows in the once comic opera ''Love in a Village," that being his first appearance on the stage. His success was beyond a doubt, and manager Seymour at once engaged him to play 'leading, singing, walking gentleman.' In the spring of 1840 a Dublin tragedian named Paumier visited Cork and became manager of the George's street theatre. Under him Sullivan gained many valuable hints in fencing and dramatic elocution, which he found of great value in after life. During an engagement of operatic stars, Mr. and Mrs. Wood, the George's-street theatre was burned down, a calamity which caused Paumier to leave for England. Sullivan now found his former manager, Seymour, who had converted a hall in Cook-street into a theatre, naming it The Victoria. 'The ghost seldom walked,' a circumstance attributed by Seymour to the visit of a travelling booth managed by one Collins, who, with a good company, attractive melodramas, and low prices, did a roaring trade. Sullivan went over to Collins and obtained permission to appear in a round of legitimate characters. The venture was successful, money poured in, and Collins grew so joyful that he set about erecting a large wooden building as a theatre. With the old booth his luck went out, and Barry returned to the old 'Royal Victoria Theatre.'
During the winter of 1840, Barry Sullivan had the felicity of supporting Ellen Tree, then in the heyday of her youth, beauty and power, in Cork. Paul Bedford was in the company at this time and played Blueskin to Sullivan's Darrell in 'Jack Sheppard.' When things were quiet in Cork, the players migrated to Waterford, Limerick, and other neighboring towns. About this time the first and only instance of Barry Sullivan ever getting 'tight' occurred at Clonmel. He was Dewelskin the Smuggler in 'Rory O'More,' and in the scrimmage lost control of himself and ill-used one of the attacking party, and, grieving over this, he decided to abandon strong drink. "And," says a biographer, "he had strength of character, and religiously kept his resolution to the end." That is scarcely correct, however, as to my personal knowledge Sullivan always had a pint of Dublin stout with his supper every night.
At a banquet given Sullivan in Cork, in December 1878, in replying to the toast of his health, the tragedian said, among other things : 'I was going to the theatre, and as I was passing through the principal street, Denny street, there was a cry of fire. I went down with the other boys— for I was only a big boy at the time— to look at the fire, and presently I saw a very beautiful girl looking out of a window above, and with her a gentleman with a white head. ' To make a long story short, I went through the flames and saved those two. Suddenly I remembered that I was wanted at the theatre, which was in the Market House, and I really did not think that I had done anything worth remembering. Two or three days afterwards, however, it became known that the boy, the individual, the young man, who had saved the lives of this lady and gentle man - I remember they were Mr. Primrose and Miss Primrose, his daughter - it was discovered that it was young Sullivan, the vulgar little player, who had done this. Up to that time our theatre had been doing very badly, but from, this time forward we had crowded houses, I tell you.' A similar incident is recorded of G. V. Brooke.
In 1842 Barry Sullivan was supporting Charles Kean in Edinburgh, and 20 years after Barry Sullivan was at the Royal in Bourke-street, Melbourne, with a magnificent company, while Charles Kean, with a good company, was playing at the Haymarket Theatre on the opposite side of the street ! Barry Sullivan played Gaston to the star's "Richelieu," and in this connection may be mentioned an incident. In 1857 Barry Sullivan was playing 'Richelieu' in Edinburgh, and the Gaston of the night was Henry Irving ! It would be impossible (and quite unnecessary) to follow Sullivan in his upward career In England, Scotland, Ireland, and America, in these columns. His colonial career touches us more nearly.
On G. V. Brooke's return to England in 1861 the larger cities of Australasia had, for the first time, an opening for a first-class tragedian. Barry Sullivan took the tide at the flood, and entering into negotiations with Mr. J. Wilton, who at that time had the lease of the Theatre Royal, agreed to make his de but at that house. I think Barry Sullivan come to Australia "on his own." Mr. W. H. Campbell, recently residing in San Francisco, but in the fifties or sixties a resident of Melbourne, recalling matters theatrical, wrote thus to a friend :_ "I frequently met and was pretty well acquainted with G. V. Brooke and Barry Sullivan during the golden early days of Victoria, better known then as Port Phillip, the Australia Felix of the veteran pioneer, John Pascoe Fawkner. Brooke was undoubtedly the most popular actor who had ever set foot in the colonies, but he had left for good before Sullivan's arrival there. The contrast between the two men, both Irishmen, as they were, was very striking. Brooke was good natured, convivial, careless, and had moments of superb inspiration. Sullivan, on the other hand, was practical, energetic, abstemious, methodical. He was for the most part painfully aware of his importance, had immense vim, aimed high, and succeeded in reaching the grand goal of his ambition.
"The days when genteel comedy was at its best in Melbourne found Sullivan, with Joseph Jefferson, Fanny Cathcart (Mrs. Heir-Darrell) Heir, and a galaxy of lesser talent, playing at the Princess. I think, they opened in 'Money,' Barry Sullivan as Evelyn, Jefferson as Graves. A little supper was tendered these gentlemen and the two captains commanding the ships which brought them out to Australia. Of those who made merry that night, only Mr. Jefferson, Captain D.H. Johnson, R.N.R., and myself remain to tell the tale. H. B. Donaldson, of Sandridge, was there, and my fellow-survivors doubtless remember how he and the genial C. Throckmorton went through the farcical comedy of marrying the landlord's daughter over the broom stick, for the special entertainment of our theatrical guests.
'It fell to my lot to propose Mr. Sullivan's health. In doing so I alluded to a keen, fussy controversy going on in the newspapers over a dispute between the tragedian and the management of the Royal, in which the ladies of the company were involved— owing to Sullivan's method in regard to them being at variance with those formerly practised. My endeavour was to throw oil on the troubled waters and bring the unhappy dispute to an end. So I ventured to suggest to our friend the desirability of a compromise, or such concession as might please the ladies and satisfy popular prejudice and clamour.
"Jumping up, the tragedian replied in these words, 'Do you think, sir,' addressing me personally, 'that I will concede ? No, sir! Never, sir! ! Not for a moment, sir ! ! ! Do you mean to say that I, Barry Sullivan, must stoop down to the people of Melbourne ? No, sir ! Far from it. I'll bring them up to me.' And he carried his point, as he always did, by sheer pluck, energy and 'go.' "Though very abstemious, Mr. Sullivan was not a total abstainer. I on many occasions supped with him at Spiers and Pond's Cafe Royal, when he invariably partook of a broiled steak or chop, accompanied by a pint, or half a pint, of Guiness' Dublin porter. He was fond of praise, though impatient of adverse criticism. 'Did you see my Don Caesar?' he asked me on the street a few days after the production of 'Don Caesar de Bazan.' He fished for a compliment and received a well-merited one."
The trouble with the ladies alluded to was that which was deemed discourteous, in not ''leading a lady on" in answer to a call or sharing the call with her. Sullivan, however, in after years, got on very well with the ladies ; he always had a double company and paid good salaries. The Cafe Royal alluded to above was the Cafe de Paris, run by Spiers and Pond, and occupied the frontage to Bourke-street, the theatre being built at the rear. I have, as one of my treasures, a picture of the old building, with a group of actors and actresses in front, in the group being G. V. Brooke, Robert Heir and his wife, Dick Stewart, and many other thespians long 'gone over.' In a basket phaeton, harnessed to two ponies, sits Christopher Pond, a fine, stalwart man, popular and prized. Sullivan's supper was not always broiled steak or chop. I remember on one occasion having business with him, after the theatre had closed, when his supper consisted of a lump of soused fish and the usual half-pint of Guinness' stout.
In 1863 Barry Sullivan came to Sydney and met with great success. On his return to Melbourne he secured a lease of the Theatre Royal from Ambrose Kyte, the first time in his life that he accepted the responsibility of management. He secured Hennings as scenic artist and H. R. Harwood as nominal stage manager, and on March 7, 1863, commenced a series of Shakespearian revivals. Then came the Keans, and the rivalry between the Keans and Barry Sullivan gave Melbourne the most brilliant theatrical season it ever enjoyed. The Keans were supported by a specially gathered company, each member of which was asked by Mr. Coppin to sink himself and his rank 'for the occasion only,' out of compliment to the distinguished visitors. Kean and wife brought with them J. F. Cathcart and — Everett, with Miss Chapman (a relative of Mrs. Kean). Henry Edwards, and other stock leaders of the day agreed to play "second fiddles" to the Keans and their company, it is an open secret that Charles Kean was disappointed with his Australian trip. He was, in fact, played out, and, but for the great assistance of his wife, would have been a dead frost. Old Londoners, who recollected his princely revivals of the Shakespearian drama, flocked to see him; but, divested of their spectacular effects, the plays, at the Haymarket, Melbourne, were as unlike the plays at the Princess', London, as Charles Kean was unlike his father, the great Edmund Kean.
Of Barry Sullivan, James Smith, who is regarded as the Nestor of Australian dramatic critics, and who has been associated with press work in Melbourne for over 50 years, thus wrote-: — 'As a man I did not like him. He was cold, hard, and repellent, and his vanity amounted to disease. He Seriously believed that the British stage had only produced thro j great actors— David Garrick, W. C. Macready, and himself. His self-love was as irritable , as it was irritating, and his jealousy of other actors almost childish. I could never detect any of the fire of genius in his performances ; but he professed great talent, and that 'infinite capacity for taking pains' which comes very near genius. Short of that, he was one of the best all round actors I ever saw—equally good in tragedy, comedy, Irish drama and farce. He was also an admirable manager. He was master of all the duties and detail connected with a theatre, from the call-boy upwards. He was very frugal, perhaps penurious ; for instance, he would see that no candle ends were wasted behind the scenes. And no doubt he was right, for 'colonials' are naturally wasteful and unthrifty, and poor Brooke's loss of the fortune he had made here was in part attributable to his carelessness and his, toleration of extravagance, and pillage in his subordinates. In spite of his jealousy, Barry Sullivan, while managing the Theatre Royal in this city (Melbourne) surrounded himself with an excellent stock company— such a company, indeed, as could not be organised now (1892), a company scarcely less complete and efficient than Daly's. Every piece he produced he had handsomely mounted, thoroughly, rehearsed, and effectively played, and I have always understood that he went home with a small fortune. I do not suppose his personal expenses ever exceeded £2 or £3 a week. His temper was as vile as Macready's, without being conscious of and penitent for it, as that actor was."
While in Melbourne Mr. Barry Sullivan's right-hand man in management was Mr. Son Amory. The latter, now dead,-was in Sidney, a few years ago, when I had some pleasant chats about old times and old people, of which and whom more at another time.
(To be continued.)
Article:  Joseph Michael Forde, ANNALS OF THE TURF AND OTHER PASTIMES. In New South Wales and Elsewhere. No. LXV, Sydney Sportsman, 10 August 1904, 8
-
At Spiers and Pond's 'Hall by the Sea’, at Margate, when the 'Special Bohemian' of the 'Orchestra' arrived at his destination ('Sportsman,' September 28, 1904), he found 'A crowd, a Tricon playing, surrounded with gas jets, looking as if Spiers and Pond were practising hard to set the Thames on fire, more gas devices and jets over the facade (for which word I am indebted to the 'Standard'), and a large poster, which informed me that Claribel's Ballads were to be sung every night.
***
'On being restored to consciousness'—he does not say how he became unconscious, I have my suspicions — 'I found the concert had commenced. M. Jullian was the conductor; and the programme included the names of Madame Parepa, Mdlle. Liebhart, Miss Eyles, Miss Rose Herssee, Mr. Farquharson, Mr. Weiss, and Mr. Perron (vocalists), Miss Kathleen Ryan, Miss Kate Gordon, and Herr Strauss. Herr Meyer Lutz was the accompanist, The hall was crammed, and the concert went off like one of Spiers and Pond's champagne corks. The orchestra is first-rate, and Jullian conducts with all the chic of his father before him. I never heard popular music more popularly played than the lighter selections on Saturday. As for the singing, we had the pompous Parepa, who was not half so much to my Bohemian taste as the graceful and unpretending Rose Hersee, who sang 'Where the Bee Sucks' in a way that electrified Margate right through the hall and out and across the road, right down to the bathing machines. Then there was Fraulein Liebhardt, who was vociferously recalled for her 'Lover and the Bird' (especially the 'Bird'), and the chivalrous-looking Weiss, who kept his 'Watch at the Fore’, although it was long past that hour, and, of course, his watch must have been awfully slow, although the song wasn't; and there was the terrific basso from the colonies called Farquharson, who accompanied capitally on the piano and sang the 'Wolf' with the most hilarious hilarity. (At this point I had an interview with Spiers and Pond in the refreshment room.) George Perren was then on with Mr. Weiss, and, as by this time the place had been formally opened, the duet was appropriately 'Hall's Well,' after which Miss Kathleen Ryan played a lot of Weber on the piano, and a flutter went through many a manly Margate heart to behold that clever and fascinating young lady, with the large dark eyes, and the power of the wrist, not to mention— (Spiers and Pond have just sent for me). To resume, Miss Kate Gordon also gave us a touch of her very excellent quality on a somewhat obdurate Broadwood, and Miss Eyles having contributed 'The Lady of the Lea,' which the programme informed us was composed by 'Claribel' (Ha! ha! I now see how her songs are to be done every night!), and Spiers and Pond having executed a most successful duet together in the shape of a bow from the orchestra, exhausted nature could do no more, and I rushed off to sup with a noble and intimate friend at No. 4 Royal Crescent. When I emerged from the hall a very beautiful experiment in lights was going on under the direction of my talented and affable friend, Mr. George Dolby. It appeared that whenever the transparencies at the hall were lit up, all the Margate lights, including the pier lights, went down. It had an indescribably beautiful effect, and, as such, reflects great credit on Spiers and Pond. Our old friend Dolby did not seem to see it in the same light, and made severe remarks upon the Gas Company. Mr. Thorne (local assistant of Mr. Hingston, the manager), having been despatched to sit on the gasometer, peace and harmony were restored, and your old Bohemian speedily found his weary form reposing elegantly on a sofa, at No. 4, above distantly referred to. There was hock, much hock, a beautiful balcony, and cigars; also fair women, and a murmurous sea in front. I like the lot, my noble friend , ———.
'Come! (said your own Bohemian to the company generally) unto these yellow Margate sands, with yellow Margate boots on at 4s 6d, and there take hands. Where the wild waves tumble o'er— and in which I shall bathe to-morrow, probably in the afternoon, drinking in the meantime a cup of kindness yet (with a slice of lemon in it) to Spier's and Pond, than whom I——'
(Here our correspondent's letter becomes luckily illegible. We are, however, enabled from other and more trustworthy sources to state that the Margate Hall-by-the-Sea is likely to prove a well-merited success.— Ed.)
***
The old Melbourne Royal and the historic cafe are doomed. After a life of half a century, with a fire midway, the old building, I believe, goes. The history of the Melbourne Theatre Royal will include the history of the best days of the Victorian stage, when the acting was acknowledged to be at his best, and without the adjunct of pretty scenery and elaborate properties. The theatre was built by John Black, a name unknown in theatricals until then, but well known on the road between Melbourne and Sandhurst as a carrier in the early fifties, at a time when carriage meant £100 per ton. Out of his pile Mr. Black built the Royal, and lost his pile. It was opened in 1855 with the 'School for Scandal.' The old Queen's was then open, and doing well, G. V. Brooke being the attraction. The Queen-street house was good enough for the prehistoric days of Melbourne, but with the discovery of gold and the advent of thousands of gold-seekers, and the success of thousands of these in gold finding, the 'playhouse' erected by John Thomas Smith in the forties was found to be inadequate to the public wants.
When George Coppin (whom God preserve) went to England in search of talent, and found G. V. Brooke, he also bethought him that, being such an expensive star-— £300 a week— and he dependent upon one small theatre, was not, in colonial parlance, good enough. Accordingly he made his way to Birmingham, and entered into a contract with Messrs Bellhouse and Co. to build him in sections an iron theatre, capable of holding £300. Mr. Coppin's first agreement with G. V. Brooke was, I believe, for 200 nights at £50, or a total of £10,000. The theatre was named the Olympic, out of compliment to the theatre so named in which, in 1847, G. V. Brooke made his first London appearance. The Melbournites, however, dubbed it the 'Iron Pot,' though it was as pretty and cozy a theatre as anyone could wish. Brooke, however, did not open it; that honor was bestowed on the Wizard Jacobs, as Brooke was playing elsewhere. In 1856 George Coppin became possessed of the Royal. In that year Brooke and Coppin entered into partnership, before, I think, the original engagement was concluded. They separated in 1858, Brooke retaining the Royal, Coppin taking as his share of the assets the 'Iron Pot' and Cremorne Gardens, at which latter place he did a roaring business. It was then, I think, that Brooke commenced to lose money. As I have pointed out before he was not a business man and relied upon others to look after his interests. At first Richard Younge managed for him, then Robert Heir. Henry Edwards, from Sydney, was engaged in the stock company, and George Fawcett was running the old Princess'. On the failure of Heir as manager, Edwards and Fawcett were appointed. Their management ended in disaster. Ambrose Kyte was owner of the building, and had been called upon on many occasions for accommodation cheques to keep the ghost walking. The failure of Edwards and Fawcett, as managers, was the means of healing a breach that had occurred between Coppin and Brooke, and the former returned to the Royal as manager. Its position at this time was not satisfactory. After giving Burton's circus a show, Wilton had it for a while, and under his auspices, in 1862, Barry Sullivan appeared. In 1863 Sullivan showed what he could do in management, and in 1865 William Hoskins and Clarence Holt joined hands, holding together until 1867, when the theatre came under the joint management of six very worthy stage men — J. Chambert, Charles Vincent, H. R. Harwood, Richard Stewart, T. S. Bellard, and John Hennings, the scenic artist. The six held together, and did well for some time. Each man had his allotted duty in management, and did it. The first break in the six was the death of Charles Vincent, occasioned by an accident, deemed of small moment at the time. He had purchased a horse, and was about mounting to go for a ride when the animal became restive and threw the rider; in the fall one of his hands was injured, lockjaw set in, and the popular husband of Miss Cleveland went the way of all flesh. Mr. Lambert went England and ended his days in the village in which he first saw the light. Tom Bellair went into hotel management. He kept the Rainbow at Ballarat for some years, and died in the principal hotel at Wagga Wagga. Harwood retired, and went on a tour to to India and China, I think. The partnership then became Coppin, Greville and Hennings, and Harwood again joined later on. The old Royal Theatre was burned in March, 1872. The piece being performed on the fatal night was the 'Streets of New York,' the hero of which was played by a very capable actor of those days, James Carden, Miss Eloise Juno also being in the company. Mr. G. R. Ireland and all the members of the company suffered losses in wardrobes, etc. The historic cafe was then in the occupation of the renowned scenic artist, William Pitt, father of the architect of today. Mr. Pitt had for many years kept the Garrick's Head Hotel, opposite the Eastern Market, where his right-hand Hebe was the now Mrs. Roberts, of the Criterion Theatre Hotel, Sydney, but then well known to us youngsters as Miss Polly Smith. The first to discover the fire was Jack Conway, the well-known cricketer, who was smoking a midnight cigar at the window of Sayers' Prince of Wales Hotel, Bourke-street. Six months previously the Haymarket Theatre was burned down, and but a few weeks before the Prince of Wales Opera House, in Castlereagh-street, went under to the same agency. In the seventeen years life of the old Royal there were memories both pleasant and painful. In the seventeen years there were, it might be said, three periods, the Brooke, the Sullivan, and the Montgomery. Mark the distinction between the two pieces, that at the opening 'The School for Scandal,' and that at the close, 'The Streets of New York!' A decadence truly.
As the actors were homeless through the fire, and out of work, and many out of cash, something had to be done for their relief. Among the most attractive efforts to gather in coin was a cricket match on the principal Melbourne ground, the cricketers in costume, and to some extent supporting the characters they sustained. George Coppin appeared as Paul Pry, J. R. Greville as 'A party by the name of Johnstone,' Mr. Hennings as Claude Melnotte, Mr. Carden as Enoch Arden, Richard Stewart as Lord Dundreary, Ireland as Cassio, John Dunn as 'That Rascal Jack,' Appleton as Ronaldo, Roberts as Asa Trenchard, old Jimmy Milne as Mike Feeney, and minor men in various guises. At the time of the fire the Princess' was empty, and the lessee, William Saurin Lyster, offered it to Mr. Coppin and his friends for a short season. Mr. Coppin made a speech — he was always great on speeches — in which he detailed his sorrows. Six years previously he had started life afresh without a sixpence; he had succeeded, but the fire had swept away most of the provision which he had made for old age and a large family. Yet Mr. Coppin re-built the Royal and opened the new venture on Cup night (Cup winner, John Tait's The Quack), 1872, with an address written by Dr. Neild and spoken by Mrs. Collins, then (later on Mrs. H. R. Harwood) nee Docy Stewart. Then followed 'To Oblige Benson' and 'Milky White,' in both of which Mr. Coppin appeared. The company proper was at Adelaide, but Coppin did not wish to miss a bumper house such as always eventuates on Cup night. Since then the fortunes of the theatre have been varied. Many new theatrical ventures have sprung into existence, the most formidable being the gorgeous Princess'.
At the time of the opening of the Theatre Royal (No. 2), the Princess' was in full swing with a strong company under Stuart O'Brien and Miss Jones, heavy tragedy being the order of the night. During the same Cup week a dramatic benefit was given Mr. John Whiteman, who had filled as many parts in life as did the late George Adams. Mr. Whiteman was a blacksmith by trade, and a poet by instinct, his little volume, 'Sparks from the Anvil,' being readable. He had been a publican, and in that, as in other trades, had his ups and downs. On the benefit night Coppin and Stewart appeared; Marcus Clarke wrote an address, which was spoken by John Edwards the younger. Looking over those old bills, one comes across many names now absolutely forgotten, of the seniors George Coppin being about the only one of a long list now remaining; and about this time— 1872 — there arose a controversy regarding 'deadheads,' in which Mr. George Coppin, Morton Tavares, and others took part. The germ of the controversy was as to whether Vice-Regal patrons should not pay for seats occupied in the theatre even on 'command nights.' The Vice Regal delinquent at whom George Coppin was hitting, and hitting mighty hard, was Viscount Canterbury, who in his earlier days was known as John Henry Thomas Manners-Sutton. The correspondence was carried on with some vigor, the theatrical critics, strange to say, siding with the deadheads, from a fellow-feeling perhaps. There was a dramatic association in existence in Melbourne at the time, and the matter was thoroughly threshed out at its meetings. Viscount Canterbury, who appears, from the correspondence, to have been a persistent deadhead, asked Mr. Coppin to send in an account of the 'items,' but this Mr. Coppin declined to do, on the ground that his profession never gave credit. Of this interesting dispute more anon.
(To be continued.)
Article:  Joseph Michael Forde, ANNALS OF THE TURF AND OTHER PASTIMES. In New South Wales and Elsewhere. No. LXXIII., Sydney Sportsman, 5 October 1904, 3
-
I have made frequent mention in recent issues of the 'Sportsman' of Messrs. Spiers and Pond, those old-time lessees of the Cafe de Paris attached to the Theatre Royal, Melbourne, and other ventures of a like character. I enjoyed the personal friendship of Mr. Christopher Pond for some years, and have sweet memories of his 'kindly disposition and good-heartedness. he was the active man in the business, Mr. Spiers being the calculating head. The partners commenced in the 'roaring fifties' in a very small way, exceedingly small when compared with the gigantic proportions their business in England assumed in later years. In the early and mid-fifties in Melbourne there was a number of political agitators, who professed everything political, from placing the entire population upon the land, by means of driving all the squatters across the Murray, to creating fortunes for everybody by means only known to themselves, and to be disclosed only when they got into Parliament.
Amongst the most enthusiastic of those agitators was one named Mooney, who kept the National Hotel at the top of Bourke-street, on the northern side, near Spring-street. There was a music hall attached, which was much frequented by diggers— lucky and unlucky— down for a spree. Mr. Mooney had been to California in 1849, and came to Melbourne in the 'roaring days.' Though keeping a public-house, he was a great advocate for farm life and settling the people upon the land. 'A farm, a vote, and a rifle' was Mr. Mooney's motto, and when the 'roaring' began to cease in the late fifties, Mr. Mooney returned to California, which country he was always careful to say was better suited for agriculture than was Australia. This Mooney (of the National) must not be confounded by old colonists with 'Long Mooney,' a wild Irishman whom long residence in Port Phillip had not tamed.
'Long Mooney' owned and the City Arms at the corner of Lonsdale and Elizabeth streets, and held some adjoining properties, acquired before the fifties began to roar. Mr. Mooney, of the City Arms, was an ancient colonist as years then went, having arrived at the Yarra Yarra before Melbourne was out of long clothes. He got, however, into the clutches of the Colonial Bank, and that Institution held all Mooney's property at his death.
Underneath the National Hotel, when kept by Mooney of 'the farm, the vote, and the rifle,' was a large dining-room which was run by Spiers and Pond. If I remember rightly, it was named the ''Shakespeare Grill,' and had a portrait of the great dramatist as a sign. The bill of fare at the Shakespeare was simple in the extreme; oysters ad lib (if you paid for them) chop or steak with a boiled spud and a half a pint of British beer, the latter brought from Mooney's tap upstairs, and all for the (then) surprisingly low charge of one shilling. Spiers and Pond succeeded well in the cellar, and looked about to extend their usefulness. The cafe attached to the Theatre Royal was then in a most deplorable condition. I think Jimmy Ellis, of the Cremorne Gardens, had something to do with it, but the management was anything but good. Spiers and Pond got a lease of the premises, and transferred their 'grill' there. They did a good business, but it was not until E. P. Hingston ('Sportsman,' Sept. 7) suggested the 'Vestibule' and certain arrangements connected there with that the Cafe de Paris and 'parts adjacent' commenced to disclose improvements. The firm then turned their attention to creature comforts at the old Princess' in Spring-street. A more disreputable-looking structure it would be hard to find. The lessee, George Fawcett, was struggling, with an indifferent company, to make ends meet; the bars, which jutted on the pavement, were as unkempt as the lowest pub on Collingwood Flat, and few of the twitter class of people frequented them. Spiers and Pond got a lease of the bars, and with paint and putty soon put a new face on the place, naming it 'The Piazza.' As at the Vestibule, the Hebes were all attired in black, the attraction at the Piazza being three sisters named Kiley, pretty girls, well educated, of good family and highly respectable and respected. With such attendants the Piazza became an attraction, and with that attraction the fortunes of the theatre became assured. The first big rise the firm made was in 1862. In the previous year they determined to import a team of English cricketers, and for the purpose of making a selection they despatched their book-keeper, Mr. Mallam, with carte-blanche to do the needful. The Spiers and Pond envoy succeeded in getting together twelve good men under the leadership of H. H. Stephenson, the other members of the team, being Bennett, Caffyn, Griffith, Hearne, Mudie, Iddison, Charlie Lawrence, Mortlock, Sewell, E. Stephenson, and George Wells. Caffyn came again in 1864 and remained for some years, commencing a hairdressing business in Hunter-street, subsequently removing to George-street, where, in 187I, he sold out to Mr. John Campbell (Mr. Amory Sullivan's 'young assistant 'barber'). Mr. Charles Lawrence is still in Australia, enjoying a pension from the New South Wales Government Railways, and keeping his hand in by coaching School cricket in Victoria.
The Spiers and Pond XI. played their first match against Eighteen of Victoria on New Year's Day, 1862, on the Melbourne Cricket Ground. The attendance was enormous, and the speculation paid from the jump. I was given to understand that Spiers and Pond cleared something like £16,000 out of their venture. Messrs. Spiers and Pond 'went for' another speculation, but it did not come off, unfortunately for the Australian people. The firm offered Charles Dickens the sum of £10,000 clear, over and above all his travelling expenses and maintenance, for a twelve months' reading tour through the Australian colonies. The gentleman through whom the offer was made pressed upon Dickens the advantages which would accrue to his overwrought system from a perfect rest of six or eight weeks' voyage; and pointed out what a rich and unworked field for the observation and study of character Australia would present to him ; but Dickens could not be induced to accept the engagement ; and while thanking Spiers end Pond for their offer, dwelt up on the large sums he was making by his readings in England, incidentally mentioning that, by announcing one night's reading at St. George's Hall, Liverpool, he was sure of netting at least £300. Mr. Spiers, at a later date, waited upon Dickens In London and renewed the offer, but without success.
Having made 'a pile' in Melbourne, the partners, still devoted to each other, resolved to try their luck in England. Accordingly they sold-out their Melbourne interests to their late bookkeeper, Mr. W. P. Mallam, and Mr. Achilles King, who, however, cannot be said to have emulated Spiers and Pond in money making. At any rate they had not the luck or their predecessors. Spiers and Pond returned to England, where in a few years they revolutionised the system of supplying the London public with refreshments. At the Criterion Theatre and Restaurant, in Piccadilly; built by Spiers and Pond in 1878, at a cost of £80,000; at the Holborn Restaurant, near Southhampton Row; at the refreshment rooms of several railway stations, and at the International Exhibition at Paris, the names of Spiers and Pond became household. The immense strain of the business told upon the health of both partners, principally, however, upon Mr. Pond. This gentleman, whom I knew better than I did Mr. Spiers, had no special advantages of education, and no special training for the business which he had embarked in. He and his partner catered for the great encampment on the Werribee, in 1862, and from their success on that occasion, there could be little doubt but that they could successfully cater for any army. A writer —who knew him well— said of him, on his death in August, 1881, that he was 'sanguine, impulsive and imaginative, his busy mind was continually revolving enterprises on a large scale, some of which he subsequently carried out, in London, while his partner, with a cooler judgment, a more phlegmatic temperament and considerable financial , ability, supplied the necessary restraint to his ardour, and took a severely practical view of Mr. Pond's projects.' Personally, Mr. Pond was popular with all who knew him, and I can recall his tall figure as he stood at the money desk in the cafe, with a pleasant word and smile, and an impressive 'thank you,' for each guest as he departed. 1 can also recall his first and last, and only, appearance upon the stage as an actor when he appeared at the Theatre Royal in the little afterpiece written for the occasion by James Smith, and entitled, 'A Broil at the Cafe.' It was upon the night when a benefit, more as a compliment than for the coin it produced, was tendered the partners upon the eve of their departure for England. Few men, not being themselves given to literature or the fine arts, had a higher appreciation of, or a greater respect for, the manifestation of literary and artistic culture in others than Mr. Pond. 'To gather around him a group of actors and actresses, operatic performers, and men of letters, and to call forth their conversational powers, around a table which bore ample evidence of his lavish hospitality, was one of the delights of his life during the last years of his residence in Melbourne.' Some there are still left who remember some such gatherings at the old Cafe de Paris and in the snug room at the Piazza. Mr. Pond was about 62 years of age at his death.
I have before me a picture of the old Royal in Bourke-street, which is of much interest just now in connection with Spiers and Pond. On the one side— the western— is the Royal Hotel, in the centre 'the vestibule,' and on the right hand, or eastern side, the Cafe de Paris; and adjoining the latter is visible a portion of the establishment of Mr. Bennett, the wig maker, whose manager Mr. John Campbell was. The whole of the frontage of the theatre was leased to Messrs. Spiers and Pond. In the picture, against the columns of the vestibule, are the poster boards with the announcements 'G. V. Brooke and Avonia Jones' distinctly visible. Another poster board bears the announcement of a benefit to the then stage manager, Mr. Richard Younge, the piece chosen being the 'Hunchback.' On the pavement is a group of actors and actresses, and not a few idlers, attracted, no doubt, by the fact that Mr. Davis, the neighboring photographer, had his camera in position, and was about to 'take' the lot. In this group is G. V. Brooke, having on his left hand the lady who had come from England with him as his chief support, Fanny Cathcart, afterwards Mrs. Robert Heir, and subsequently Mrs. George Darrell. On his right stands Mrs. Lambert, wife of one of the best 'old men' Australia has ever seen. In the group also are Lambert, Heir, Dick, Stewart, and many others. Seated in a basket phaeton, is Christopher Pond, then, I remember, slowly recovering from the effects of a broken leg.
One of the English ventures— and a successful one— was 'The Hall by the Sea,' at Margate, under the management of E. P. Hingston, and where for some months — or was it years ? — the attraction was our old Australian friend, Farquharson. One of the best advertisements 'The Hall by the Sea' had was contributed by 'A Special Bohemian', to 'The Orchestra,' in July, 1866. It was dated from 'Margate,' at 'midnight':—
'I am here, Mr. Editor, at Margate.' I came hither on the saloon steamer the Albert Victor, as a guest of the renowned Australians, Spiers and Pond, whose delectable drinks no doubt are familiar to you. I think it was last Saturday I came, but I am not sure. But I am perfectly sure about the Albert Victor, and Spiers and Pond, and the drinks. Pond is the taller of the two, in order to distinguish him from Spiers, for as they are always to be seen together, any less obvious distinction, such as baptism, would be perfectly aimless and ridiculous. They are very jolly to look at, and are the most charming conversationalists in the world. Like the fairies in the nursery story, they only open their mouths to let fall rubies, and pearls, and diamonds for you to gather up. In fact, their speech is always ravishing, like this (murmured gently going down the after-saloon stairs), 'What'll you take to drink?' Or again, 'I think you will like this hock.' Or again, 'What do you say to a little pineapple,' and gems of that nature. On the whole, the voyage to Margate on board the Albert Victor was of the most pleasant description. I did not see much of the scenery on the way down, common politeness keeping me near Spiers and Pond in the lower saloon for the better part of the day; but I am told the look-out was particularly beautiful to those who like that sort of thing. My description, therefore, must be necessarily brief. After we left London Bridge we sailed majestically past Billingsgate. Chelsea, the Tower Hamlets; Kew, and the Eddystone Light (a fine structure, sir, hut I did not see it, being just then particularly engaged with Spiers and Pond in the lower saloon). Scarborough, Hungerford, and Rosherville Gardens; had a chat with the Man-at-the-Nore. and eventually arrived at Margate late in the afternoon.
''We in the lower saloon had known for some time that we were approaching the jetty, from the strong bouquet of Hebrews, wafted on the evening air, and it was with feelings of reluctance that we ascended the wooden stairway and made our way through the lanes of Israel towards shore. Margate, as you know, my dear editor, is a royal burgh, situated opposite Gravesend, and not far from Yarmouth, on the Isle of Thanet. It is one big lodging-house, the people live on shrimps, and wear yellow boots without heels, and machines are 9d, including towels. This is Margate, which, having seen, and having secured a humble apartment, I found it nearly time to rejoin my fast friends, Spiers and Pond at their new 'Hall-by-the-Sea' at the inaugural ceremony incidental to the opening of which we had been invited to assist. The 'Hall-by-the-Sea,' you see is meant to be— well, eh ! a hall by the sea. That is, you can eat and drink as you can only eat and drink chez Spiers and Pond; and in the evening there is a concert, and afterwards a ball and the charge is one shilling. That's a hall by the sea. The hall itself is very pretty, and large and comfortable, though tolerably bad for vocalists. I don't know much about architecture myself, else I would give a long and elaborate description of the hall, but luckily the 'Standard' reporter does, and as he is a friend of mine I make free to borrow his account. 'The hall (he writes) is a longish square, with triangular roof and level walls, divided into compartments.' There you have the whole place lucidly before you, and I need only add that the orchestra is erected about the middle, much in Covent Garden style, with passages at the sides ; that the 'salle' is hung with stuff, festooned with flowers ; that tolerably decent statues are arranged along the walls at intervals, and that the chairs are cleared away after the concert for dancing, to give you the 'tout ensemble' in a sentence. It is bounded on the north by the sea, on the east by the Marine Parade, on the south-west by the railway station, and on the south by nothing in particular.'
(To be continued.)
Article:  Joseph Michael Forde, ANNALS OF THE TURF. AND OTHER PASTIMES. In New South Wales and Elsewhere. No. LXXII., Sydney Sportsman, 28 September 1904, 3
-
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.
Article:  Joseph Michael Forde, ANNALS OF THE TURF. In New South Wales and Elsewhere. , Sydney Sportsman, 11 May 1904, 8
-
Mr Black and the Theatre Royal – It will have been observed by an announcement yesterday in our impression of yesterday, that Mr John Black, the projector and father of the Theatre Royal, has sequestrated his estate; and that he has been obliged to go into the Insolvent Court. We understand the immediate cause of this result was an enormous claim from the ground landlord, or the person claiming to be the ground landlord. We have no wish to intrude into the private affairs of individuals, and though theatres and theatrical managers belong rather to the public things and public men of the time, we only allude to the topic in its relation to the gossip of the day. On dit that the formidable demand made by the representative or holder of the fee is mere moonshine; but that the only remedies for the case were an action of replevin, which would have been necessitated finding bail for nearly £5000, or the sequestration of whatever estate Mr Black might have in the property. The latter alternative was the more facile remedy and hence its adoption. We understand that this act will not interfere with the management of the theatre, nor with the proprietor of the establishment, Mr Bayne. Still less has it any connexion with the affairs of Messers Spiers and Hennelle, the respectable parties who are the lessees of the licensed hotel facing Bourke street, and who are secured against all interference by the hands and seals of all persons interested in the property. We may add that he means adopted by the claimants of the property is in point of fact only an intrusive, but very energetic mode of asserting their rights, real or supposed; but which however just, well-laid and legal, are at any rate at the present time the subject of undecided litigation. R. E. Jacomb, Esq., is appointed the assignee of Mr Black’s estate.
Article:  LOCAL INTELLIGENCE. (1855, October 9)., The Age, 9 October 1855, 5
-
To the editor of the Argus
Sir, - it must be indeed pleasing to all lovers of really good music to watch the rapid advance which the art is making among all classes of our community. The fact was never more apparent than at the Theatre Royal last night. The musical Union and Mr Lyster’s opera company have reason to congratulate themselves upon the successful experiment of introducing instrumental compositions of the very first water to an Australian audience. It has been long urged that the symphonies of Beethoven, Mozart, and others were of too classical a nature and too tediously long, to be listened to with patience and pleasure by a Melbourne audience; but the breathless attention during the performance of Beethoven’s No 2, an the symphonies of Mendelssohn, and the outburst of genuine applause at the termination of each movement, must clearly prove the promulgation of such objection to be in error.
It is to be hoped, now that the experiment has been tried, with result so successful, that our musical societies will often introduce such competitions into their programmes, and that we shall have periodical performances after the same model as those which at the present time command so much public attention in the metropolis and provincial cities of the mother country.
Yours &c.
Allegretto
Article:  MUSIC IN VICTORIA. (1862, May 17, The Argus, National Library of Australia, 17 May 1862, 7
-
Article:  Recollections of the Theatre Royal, The Argus, 21 March 1872
-
Article:  Ross Thorne, Melbourne’s Lost Theatres, Parts One & Two, Theatre Australia, 2, 10, 12, May 1978, 16-18, 11-13
-
Theatre in Bourke Street, opened 16 July 1855. Architect: J. R. Burns. Seated 3300 persons in four levels. Destroyed by fire March 20 1872. Rebuilt and reopened 6 November 1872. Architect George Browne. Seated nearly 4000. Redesigned by William Pitt Jnr. as three-level auditorium 1904. Closed 17 November 1933 and demolished to make way for department store.
Built in 1854-55, only two decades after the first settlement of Melbourne, this large, substantial theatre rivalled the Theatres Royal at Covent Garden and Drury Lane in London in the sizes of its auditorium and stage. The auditorium was 19.2 metres wide by 22.8 metres from the rear to the stage curtain line. The stage was 26.4 metres from the same curtain line to its rear wall, with a 3.6 metre apron projecting into the auditorium. The stalls-pit floor extended to the boundary walls of the auditorium, with posts supporting three balconies, all rather cramped in height. In front of the theatre was a lofty two-storey hotel in a heavy early-Victorian neoclassical style. The theatre, owned by John Black, was largely an optimistic extravagance for the young town, even with the influx of residents and itinerants brought by the Victorian gold rushes. A year after Black opened the Theatre Royal with R. B. Sheridan's The School for Scandal, he went bankrupt and was forced to sell it for £21 000, about one-quarter of the cost of building it. The actor G. V. Brooke and the actor-manager George Coppin bought the theatre, but it was rarely profitable to them or various lessees. In 1861 the theatre came under the control of Ambrose Kyte and then returned to Coppin.
After fire destroyed the building in 1872 Coppin rebuilt the theatre with a high three-storey hotel in front, designed in rococo Victorian style and surmounted by a huge royal coat of arms. The architect George Browne increased the depth and height of the auditorium to 25.5 metres and 18 metres respectively and increased the capacity to nearly 4000 people. The stage was deepened to 36 metres. There was a huge gas chandelier in a 12.6 metre diameter dome, painted with scenes of Melbourne and London. In 1880 the proscenium was brought forward to eliminate the stage apron. Yet even with these improvements Dion Boucicault in 1885 found the theatre to be large, dusty and primitive, with poor audience accommodation and wretched backstage arrangements for the actors.
Coppin operated the theatre in partnership with Henry Harwood, John Hennings and Richard Stewart until it was taken over by Williamson, Garner and Musgrove. This firm and its successors ran until the Great Depression, when it was sold as a redevelopment site. In 1904 J. C. Williamson had the auditorium gutted and redesigned by William Pitt Jnr with only three levels, but still with a forest of posts. As the Williamson company's premier theatre in Melbourne, the Theatre Royal mainly housed major overseas companies and opera and operetta productions.
Article:  Ross Thorne, Theatre Royal Melbourne, Companion To Theatre In Australia, 1995, 584
-
Article:  Social and General, The Argus, 4 July 1881, 1
-
Article:  Sporting and Theatrical Notes, The Argus, 21 June 1872, 3
-
Ghosts today people the Theatre Royal and on Monday even they will be disturbed in their fretful musings by the first crashes of falling masonry as the wreckers begin the work of demolition.
The old theatre died last night in a blaze of triumphant glory. Never even in the heyday of the past can there have been such a night. Once more were the splendours of yesteryear rehearsed in tableau and the audience cheered and cheered again until the last sundering curtain fell between it and all the world of pageantry that has been the Royal.
It was fitting that so popular a production as “The Maid of the Mountains” should be chosen for the last performance and probably there was never a merrier one.
Favourites applauded
For the invisible barriers between players and audience were dissolved, and an intense personal sympathy between them made every sally of the old favourites, heard by many present probably a dozen or 20 times, doubly amusing, and every romantic moment more glamourous than before.
Often the action of the show was held up by the demonstrations of the audience. For all the cast, and especially for such favourites as Gladys Moncrieff, Arthur Stigant, and Phil Smith, there was continuous applause.
But it was when “The Maid” was over that the real show began.
The Lord Mayor (Cr Gengoult Smith), who had been sitting in a box, went upon the stage and recalled the grandeurs of the far past and of more recent years.
Nights of Long Ago He spoke of nights when a younger Melbourne gazed up adoringly at its favourites; of after-theatre revelry at the now defunct Savoy, and of the passing, in its turn, of the Royal itself.
“But,” he said, “The flesh and blood of the theatre can never die!” and the audience which, by now, filled every seat and crowded in the aisles and along the back of stalls and circle, cheered again and again.
Now Mr Stigant, in his costume as General Malona, introduced a series of tableaus.
“Tonight,” he said, “within this historic theatre the curtain falls for the last time and there will remain but a memory of the many plays and players who have been seen upon the old stage with its historic associations of the past.”
Upon the Boards Again
The shades of the old players must come trooping across the boards upon which they once strutted their brief hour of triumph. We shall present to you a glimpse of them in the characters in which they were notably associated, so that when you leave this theatre tonight you will feel that, although this occasion is invested with a good deal of sadness, there is still the pleasure of remembrance.
“Once more unto the breach, dear friends, once more, or close the wall up with our English dead!’ Who can forget the stirring call of King Henry the Fifth, or the never-to-be-forgotten triumph in that role of George Rignold, whom Mr Harvey Adams will present before you?” Player after player they appeared, most represented by some performer of the present day, with a few old favourites in person.
Great Names
Here they all were – George Rignold, affectionately known as Handsome George, who first appeared in the theatre of 1878; Marion Dunn, the Daughter of the Regiment of 1864, represented by her daughter; Marion Marcus Clarke, in the dress used in the original production; J B Atholwood, the character actor, represented by his son Ronald Atholwood; Julius Knight, “A Royal Divorce” celebrity; Pavlova; Jack Ralston; Harriet Bennett, of “Rose Marie”; Melba: Rueben Fax; Lewis Walker; Maggie Moore; Nellie Stewart; Tittel Brune as L’Aiglon, recalled Patricia Wenman; and to the rapture of the audience, Carrie Moore herself, the original Merry Widow; Meta Pelham, at 84 Australia’s oldest actress; and smiling Cecil Kellaway himself.
Never can any of the famous in the flesh have had a more tumultuous reception than was given their depictors. When Mr Frank Tait had explained that a new His Majesty’s was to arise, the theatre was showered in streamers from circle and gallery and, amid a mass of multi-coloured ribbons, Gladys Moncrieff sang “Farewell.”
The Last Curtain So at midnight the last curtain fell.
The audience streamed away, but not a few people lingered wandering across the huge stage or among the deserted dressing rooms. What tales indeed could be told by these well-worn walls, these rooms all empty now!
But now the lights were going out. Carrie Moore was saying a last farewell. She stopped to speak to Frank Talbot, who was paying the last tribute of a brother showman to the dying theatre. The corridors were piled high with theatrical baskets. On the walls hung the wardrobe of the last performance.
Mourners and merrymakers alike took their last look and drifted away.
Workmen began to carry out the furniture The exit doors to Bourke street were closed.
The Theatre Royal was dark for ever.
Article:  The Death Of A Theatre (1933, November 18). , The Herald, 18 November 1933, 15
-
Ashley v. Bliss For plaintiff, the Solicitor-General and Mr Wood for defendant, Mr G. A. Stephen.
An action on replevin to recover the amount of a bond given by defendant to the sheriff for the prosecution of an action to recover damages for an excessive distress for rent made by plaintiff on one John Black, the lessee of the Theatre Royal. The action was not brought, and therefore the present action was brought to recover the amount of the bond.
In 1855, Mr John Black was the lessee of the Theatre Royal, in Bourke street, and being in default of payment on his rent, his goods were distrained, and were at once replevined under a bond for the amount of double the value of the goods, that Black would institute a suit against the landlord for excessive distraint for rent. Defendant joined in the bond to the sheriff, who endorsed it over to the landlord as his only security for the rent.
The Solicitor-General, having stated these circumstances, called Arthur Theodore Wilson, clerk to Messer’s Bennett and Taylor, who proved the signature and seal of defendant to the bond. Lewis Ellis proved the signature and seal of the Sheriff to the bond.
Edward Ashley, merchant and proprietor of the Theatre Royal, proved that £458 was due for three quarters rent at the time of the distraint. The goods distrained were worth more than the amount of rent due. Everything on the premises was seized. The bond produced was assigned to witness by the sheriff. Black brought no action against witness on this distraint, nor did he serve him with a writ.
Cross-examined by Mr G. M. Stephen, Black has not paid the rent; never promised Bliss not to hold him responsible for the bond.
Another witness was called, but his evidence was of no value.
Charles William Stuart, sheriff’s officer; Remembers the distress in question. Delivered over the goods from plaintiff’s bailiff to defendant; did so on the replevin; cannot say anything of the value of the goods.
Plaintiff’s case closed here.
Mr G. M. Stephen moved for a nonsuit on the ground that the bond being taken under a statute the terms of that statute should be strictly carried out. This act is 15 Vict., No. 2 which is a transcript of the 11 George 11 which prescribes the form of the bond which in this case is drawn up under the common law procedure act which was not passed until long after the bond had been given. He cited Jackson v. Hanson, 8 Mus., and Wells; and Edwards v. Chalin. The variance in the words of the bond cause the bond produced not to be the same as that set out on the declaration.
His Honor over-ruled the objection.
Mr Stephen addressed the jury for the defence. His Honor summed up the evidence and explained the law of the case and the jury gave a verdict for plaintiff damages £400
Article:  THE LAW COURTS. (1858, March 4). , The Age, 4 March 1858, 6
-
Article:  The Opening of the New Theatre Royal, The Argus, 7 November 1872, 6
-
The new theatre royal – concerning which small talk has long been busy – was opened last night under the management of Messers Harwood, Stewart, Hennings and Coppin. The pit, stalls and dress circle were crowded to suffocation. The galleries were not so well filled.
We have already given particulars of the construction and decoration of the theatre, and it only remains to describe the effect which the decorations and furniture produced when viewed by gaslight. The dress circle is furnished (by Messers Cohen Brothers, of Lonsdale street, who are the contractors for the upholstery) in red damask, the effect of which is to our thinking somewhat sombre. The stalls are supplied with cane seats, with arm divisions of kauri pine for each person; and in both parts of the house attention has been paid to the comfort of the audience. The panelling and painting is rich and tasteful. The liberality of lighting and the multiplication of chandeliers gave to the auditorium a most brilliant appearance and when the first notes of “God save the Queen” drew the immense house to its feet, the scene was a remarkable and exciting one. The same fault which was so marked in the old Royal – the extent to which the upper boxes overhung the dress circle – has, however, not been omitted to be reproduced. The acoustic properties of the house are good, its appearance elegant and airy, while the marked improvements in stage accommodation and increased facilities for exit and entrance render it a theatre second in convenience to none of its size in Europe.
The singing of the national anthem completed, Mr Hennings new drop-scene was exhibited. The subject chosen is a view of a lake and mountains. It is impossible for Mr Hennings to paint anything which is not artistic, but in this instance we can but agree with Goldsmith’s admirer of Pietro Perugino and say that “the picture would have been much better had the artist taken more pains.” It is barely finished, and bears marks of great haste. The painting is not worthy of the first theatre in the colonies. This complaint of hastiness may be made indeed with reference not only to the other parts of the building but to the performance which initiated the season. The bars, café, and lounge are in a condition of bricks mortar and mud which his utterly abominable, and the bill of fare set before the audience was of the most meagre kind. Mr Coppin has given his reasons for the non appearance of a company in his speech, and doubtless to him they are all sufficient, but there was no necessity to open the theatre at all until it was completely finished, and furnished with actors. Mr Coppin has a good stock comedy company in Adelaide; if he could not get them back in time to open his theatre, he might have accepted the results of his arrived. “To Oblige Benson” and “Milky White” are good pieces enough, and were very defective arrangements, and waited until they well played, but we maintain that there are not the sort of plays to produce upon the opening night of the leading theatre in Australia, and we regret that the tradesman-like consideration of the pocketing of a few hundred pounds during the race week should have induced the management to thrust second rate pieces upon the boards of an unfinished theatre.
The opening address was written by Dr Neild and spoken by Mrs Collins, late Miss Docy Stewart, who has returned to the stage where she made so many friends. It is as follows:-
It seems indeed but as the other day,
That here a heap of smoking ashes lay, O’erhung by blackened walls that high appeared
Their ruined length, like ramparts lightning-seared
It was, in truth, a very tristeful scene
Nought left but memories of what had been;
Mind-thronging memories of things long sped,
Of those in other lands, and of those dead!
A lengthened pageant passed before the eye
Through that black void, all open to the sky
And it was hard indeed to vanquish tears
To think that of the glories of gone years
The ruthless fire no monument had left,
But into devastation all had swept.
The boards that Brooke so oft had trod were gone
Those on which Rogers in his best days shone
On which, too, we were wont, erewhile to see
The ideal Hamlet in Montgomery
Where Jefferson his perfect skill displayed
And fine old Alberts last farewell was made
Where, later, Mathews with consummate art
Seemed all he played, yet seemed to play no part;
Where hosts of others, not unknown to fame
Had left a more or less enduring name –
Gone was the place – scene of their glories all –
Spent like a fleeting day dream, past recall
But yet, though dismal ruin sat and frowned
On smouldering beams, still sacred was the ground;
Although the temple to the earth was cast
Its history stood still grandly in the past
So long the drama’s home had flourished here
‘Twere profanation other pile to rear
Destructions hand had crushed to dust the lane
What then remained? Why – build it up again
Hence active brain, with busy hand combined
(Alliance potent, muscle wed with mind)
Resolved this drama’s temple to restore
A fairer building that it was before
And in short spaces as if by wizards will
The structure ’gan the dreary void to fill
Soon there was seen a goodly house well planned
Worthy of the foremost southern land
And of the drama worthy too, we trust
Albeit they say the drama ‘s in the dust.
But that’s a slander, and we hope to show
Not yet it hath received its mortal blow
But this in passing. Nathless be it said
If now the drama be in truth quite dead
Faded and withered never more to bloom
That we have built for it a fitting tomb
But will I not believe that so’t must be
Not ended yet the drama’s history
So long as passion stirs the human breast
And the soul hath its tumult and its rest;
So long as men in life’s hard battle fight
And wrong for victory contends with right
So long a loves great lever moves mankind
So long the drama, worshippers shall find
And when the last man utters his last sigh
Then but not till then will the drama die
Tis nothing that it changes oft its mood
That all the muses in their turn t’as wooed.
That mad burlesque hat sometimes favoured been
And art been hidden by sensation scene –
These are but shadow phases and the light
Will come again, as it of erst was bright
Bit howsoe’er, or whosoever it be
Burlesque, sensation, or pure comedy
Tragedy, farce, or aught of all the rest
We here will strive to please you with our best
I speak for all my friends, I who awhile
Here basked in the sunshine of your smile
Grateful I come for many favours past
And the first part of which you find me cast
Is this, the pleasantest of many a part
To bid you welcome from my inmost heart
Take then my greeting, warm as words can make
And I your pleasant greeting back will take
For tis a night of greetings, as’t might be
In a long separated family
Our house is built again, let us rejoice
With one united and outspeaking voice
And as the roof tree rattles with our cheers
Lets wish’t may last at least a thousand years.
The applause was frequent, and Miss Stewart – as she still chooses to be termed – may feel proud of the hearty and appreciative cheering which greeted her appearance. After the first-piece, in which Mr Coppin, as Trotter Southdown was as amusing as of yore, occurred the event of the evening – the managerial speech. We print it verbatim:-
“Ladies and Gentlemen – it is usual at the commencement of a dramatic season to announce coming events. I will not do so upon the present occasion, because I am much in the dark in reference to the future managerial policy of the theatre as any sleeping partner in the depths of somnolence can possibly be. The next mail steamer brings Mr Harwood, who will, I have no doubt, give a very satisfactory account of his search for novelties and talent in the old country. As I cannot enlighten you as to the is to be’s I will make a few remarks about the has beens and the is-s-s-s. You are no doubt aware that I was burnt out of the Theatre Royal. You may have heard that my positive losses exceeded £5,000. In fact, if the stock of old scenery and machinery destroyed were valued in proportion to the cost of the new, my losses would exceed £7,000. You can all understand that the disastrous event was neither agreeable nor convenient. The ashes of the old Royal were undisturbed for months. The property was advertised for sale, or to let. Appeals were made in the newspapers to the enterprise and public spirit of our wealthy colonists to restore the legitimate home for the drama, but without a response. As no one else would face the breach, I came to the fore again, and leased the ground for 99 years, through the negotiations of Mr. Auctioneer Knipe. I selected my architect, had plans prepared, and accepted tenders for the building. I negotiated for insurance in England, and let the theatre for five years to Harrow and Co. Now, many persons would say – why didn’t Coppin float the Theatre Royal Proprietary Association before making himself liable for £20,000 because we all know that he hadn’t the money to carry it out? He couldn’t say – Alone I did it. I’ll tell you:- I am a member of one or two excellent associations that are perfectly dormant at the present time, in consequence of the inaction and want of sympathy on the part of some of the directors and the secretary. There are many persons in this world that either cannot or will not do anything themselves, but constantly oppose the exertions of others that are willing and competent to undertake the responsibility of guaranteeing success. With this mortifying experience I arrived at the conclusion that when you wish to carry out any undertaking, the safest way is to keep the power within yourself until the arrangements are so far advanced that they cannot be altered. After entering into all my engagements, I then issued a prospectus for the formation of a company to carry them out. The shares were disposed of by Mr J P Macdonald. My plans have been most literally endorsed by the directors, who – whilst protecting the interests of the shareholders, have not neglected the comfort of the public – and the result of this little bit of management is the magnificent building you now occupy, which I think ought to satisfy the demands even of those gentlemen which were liberal enough to dictate the expenditure of other people’s money by building theatres in the air through the newspapers. I cannot too highly praise the talent and energy displayed by my architect, Mr George Brown. His heart was evidently in his work and the result must elevate him greatly in public estimation. The services of Mr Powell have been most valuable as clerk of works, from the experience he gained in his connexion with building, the old Royal and Haymarket Theatres. The contractors, messers Hood and Brown, have carried out their works in a substantial and tradesman like manner. I cannot now enumerate every person that is entitled to honourable mention – from Mr Hennings down to the most humble labourer employed there has been a general desire to make the theatre a success – to each and all I tender now my thanks. I need not tell you that we are in an unfinished state. It would be a pity to spoil the Brussels carpets by placing them upon the floors whilst the plasterers are at work. I should therefore advise you to come every night to notice the gradual improvements until we arrive at completion. I have no doubt that some amount of disappointment exists (in which I heartily join) at the non-appearance of the ladies and gentlemen intended to open the theatre. The fact is that a great portion of the company is under written engagement ‘to open the Theatre Royal on or about the 7th of November. You see I calculated my opening night very closely some months ago. Without thought, engagements were afterwards made for a three months season in Adelaide, and when noticed to appear this evening, they found themselves in the awkward position of having to break one of their engagements. Managerial pressure, through the violation of a distinct understanding, compelled them to remain in Adelaide until the 19th of November, and we had to form another company not a very easy task with two other theatres open in Melbourne. The fortunate arrival of Miss Rose Evans placed novelty and talent at our disposal, and tomorrow evening I thoroughly anticipate one of those great successes for which the old Royal was so celebrated. And now, ladies and gentlemen, permit me to thank you most sincerely for your attendance here this evening. Although I shall not take any active part in the management of the theatre, I shall occasionally pop in, and hope I don’t intrude. On behalf of Harwood and Co, I can assure you that every exertion will be made to insure the liberal patronage and support that they had the good fortune to enjoy during their former years of management.”
Mr Coppin was much applauded at the conclusion of this effort, and Mr Brown, the architect, was also summoned by the audience to receive their compliments.
The comedy-drama, “Milky White” concluded the entertainments. It was received with great marks of favour, and it merited them. Mr Coppin never played the misanthropical cow keeper better. Mrs Crosbie made an excellent Mrs Sadrip, and Miss Maggie Stewart may be congratulated on the acquisition of some little sprightliness during her recent absence from the boards. Mr Munro and Mr Collier would seem to claim some notice, but beyond stating that they, Mr Stewart, Miss Douglass, and little Miss Nellie Stewart appeared in the course of the evening, the insignificance of the parts enacted by them renders criticism needless. For the same reason we refrain from commenting upon the acting of Miss Docy Stewart. She sustained the small part of Mrs Trotter Southdown with the ease of experience. Miss Stewart is a capable and painstaking actress, and we are glad to see her again upon the boards.
This evening Miss Rose Evans will appear in a drama called “quite alone,” dramatized, we understand, by herself, from “Jane Eyre”.
Article:  THE OPENING OF THE NEW THEATRE ROYAL. (1872, November 7)., The Argus, National Library of Australia, 7 November 1872, 6
-
The news of the impending demolition of the Theatre Royal must have come as a shock to all old Melbourne playgoers. With a history stretching right back to the days of the diggings the theatre has been associated in its time with every class of theatrical production. It has housed a circus, it has been used as a stadium for wrestling matches; and within its walls more than one fervent evangelist has preached to crowded congregations.
Its first projector was John Black, who had amassed wealth by carting goods to the goldfields at a time when fabulous prices were being paid for the transport of supplies over unmade roads. Mr Black began the erection of the first Theatre Royal in 1854. By Christmas time he had the front portion so far completed that he was able to arrange for a series of popular concerts in the long entrance hall, or vestibule, leading to the theatre proper. The opening of the theatre was delayed until July 16, 1855, when Sheridan's "School for Scandal" was played to a crowded house, with Mrs Poole and Mr G H Rogers, "the Australian comedian," in the leading roles. An added attraction was the illumination of the building by gas, then a novelty in Melbourne, from a plant installed at the theatre itself. The press was enthusiastic in praise of the new undertaking. But even at the outset Black, notwithstanding his initial resources, found himself in financial difficulties and although he presented to the public grand opera with such "stars" as the favourite Catherine Hayes and Madame Carandini, following this by the dubious attractions of the notorious Lola Montes, and even producing the Royal's first pantomime, he was unable to retain control of the theatre and before the middle of 1856 it had passed into other hands.
No name is more conspicuously associated with the early history of the Melbourne stage than that of George Selth Coppin. Making his first appearance before the public here at the old Queen's Theatre in June, 1845, he had prospered and had returned to Great Britain to seek fresh attractions for Australian theatre-goers. Early in 1855 he returned with an eminent tragedian, Gustavus Vaughan Brooke, bringing also the materials for an iron theatre, which he proceeded to erect in Exhibition street. When it became evident that the more eligible and centrally situated Theatre Royal would be on the market he and Brooke entered into partnership, and on June 9, 1856, the Royal was opened under the new management with "She Stoops to Conquer." For about two and a half years Brooke and Coppin carried on together. Then In February, 1859, they dissolved partnership and Brooke became sole manager of the Royal. In after years the Brooke era was looked back upon as "the golden time of the Victorian drama" - using the term “Victorian" with a more limited connotation than it has today, but, however great he may have been as an actor, Brooke was a poor financier. In December, 1860, he was glad to grasp the helping hand held out by Coppin to extricate him from his difficulties, and on May 23 following he bade farewell to the Melbourne public, whom he was destined never to face again. In January, 1866, setting out on another voyage to Australia, he was drowned in the English Channel in the wreck of the steamship London.
Lyster's Opera
Important episodes in the history of the Royal during the 'sixties were the advent of the opera company controlled by William Saurín Lyster in 1861 and the three years reign as manager of Barry Sullivan the Shakespearian actor from 1863 to 1866. Lyster arrived at a time when there was some enthusiasm for vocal music in Melbourne and he had no trouble in supplementing his chorus with volunteers from the ranks of the Musical Union. Sullivan renovated and improved the theatre reducing the number of seats in the dress circle so as to provide room for the most expansive of crinolines and he reduced the charge for admittance to pit and gallery respectively to the popular prices of 1/ and 6d. A description of the first theatre building in these balmy days speaks of the stage with its gilt pilasters of open columns and panelled proscenium surmounted by the Royal Arms, the three tiers of boxes in white and gold and the grand celling with its dancing muses. The Royal play bills of the sixties announced many interpreters of Shakespeare such as Clarence Holt and William Hoskins, Walter Montgomery and Bandmann, the German actor. In the earlier part of the decade we find Sir William and Lady Don and in the latter Eloise Juno a young Scottish actress from Edinburgh destined to become well known to the Melbourne public. Toward the end of this period the management of the Royal passed into the hands of a firm the names of whose members are even now almost household words. George Coppin was at its head and with him were H R Harwood Richard Stewart the father of Nellie and John Hennings the scenic artist. The stage manager was J R Greville well known as comedian and fisherman. Under these auspices Mr and Mrs Charles Matthews were appearing in comedy in 1870 but in the following year the partners seem to have separated leaving Mr Coppin as sole lessee and manager. The last play which he produced in the old Theatre Royal was entitled “The Streets of New York.” It included a realistic fire scene, a bad omen apparently for about midnight between March 19 and 20, 1872 a real fire broke out in the building and completely gutted it, although the Bourke street frontage on which stood the Cafe de Paris at one lime tenanted by the famous firm of Spiers and Pond was untouched. This fire was the culmination of a series of theatrical disasters. The Olympic - disused for some time as a theatre and converted into Turkish baths - had been burnt down in 1866, the Varieties had gone in 1870 and the Duke of Edinburgh (or Haymarket) Theatre In 1871 and two of these buildings still remained in ruins, although the first Opera House was rising on the site of the Varieties. The destruction of the Royal was a severe blow to Mr Coppin but he enlisted the aid of his former partners and in three months he had completed arrangements for rebuilding. The contract price is stated to have been £18,000. On June 15, 1872 a foundation stone was laid with the usual bottle containing relics in its cavity. The souvenirs on this occasion included autographs of members of the theatrical profession and a Chinese lottery ticket. One wonders whether any traces of them will be found when the building Is pulled down. In five months the new Royal was ready for occupation. The Bourke street front had been rebuilt raising it to the present three stories. The auditorium in which probably some of the materials of the old theatre were used was provided with three galleries and its decoration owed a good deal to the capable hands of John Hennings. The stage had the remarkable depth of 110ft Wednesday November 5 1872 was the opening night - rather a hurried opening it is true to catch the Cup season, for Mr Coppin had to apologise to his audience for the incompleteness of some of the interior arrangements; but everything was soon going and a note-worthy first appearance before the end of the year was that of Harry Rickards, the man who was destined to play an important part in building up the vaudeville business in Australia. Other important newcomers to Melbourne about this time were Mr and Mrs J C Williamson who appeared at the Royal on August 1, 1874, and laid the foundations of their theatrical fortunes by the instant success of the comedy "Struck Oil," which they had brought from San Francisco. Shakespearian traditions were well maintained in the 'seventies by Alfred Dampier, George Rignold - "handsome George" and Mrs Scott Siddons. A somewhat exceptional appearance in 1876 was that of Eduardo Majeroni, an Italian opera singer, who had studied English and who blossomed out as a tragedian. Mr and Miss Lingard were playing in drama in 1879. In the following year Louise Pomeroy was appearing with William Hoskins, and in 1881 we find the name of Grattan Riggs, a favourite Irish comedian.
The First Night of "Patience."
In 1882 Mr Coppin decided to retire from the management of the Royal, and the lease was taken over by Williamson, Garner, and Musgrove, a new firm composed of three theatrical producers. On July 1, 1882, they opened with Gilbert and Sullivan's “Patience." "So great a gathering," savs "The Argus" describing that first night, "was never yet seen in any Melbourne theatre." October, 1883, saw the first production of "The Silver King," with George S Titheradge as Wilfred Denver, and on April 1, 1884, John F Sheridan made his first bow to Melbourne as the Widow O'Brien in "Fun on the Bristol." Geneviève Ward as Lady Macbeth, and Wybert Reeve in "comedy drama" belonging to this period, nor must one forget to mention such important first productions as "Iolanthe," on May 9, 1885, with Mr and Mrs Robert Brough in the cast, and "The Mikado," on February 20, 1886, with Howard Vernon as Koko and Nellie Stewart as Yum Yum. In 1887 came Martin Simonsen's Italian Opera Company, in 1888 Charles Warner as Coupeau in "Drink", and later in the same year, Carrie Swain in "Uncle Tom's Cabin," with a "river of real water" on the stage.
These were the booming times of the 'eighties, but in 1891 there were changes. Messrs Williamson and Garner - Musgrove having previously dropped out - dissolved partnership in July, and the Royal was taken over by the Australian Theatrical Management Company, with Mr George Coppin again at the head of affairs. In November Walter Bentley made his first appearance in "Rob Roy," supported by Eloise Juno and Anne Beaumont. In the middle of 1892 Bland Holt was producing "A Run of Luck," and the history of the theatre for the next few years is largely linked with his name. The son of Clarence Holt, the Shakespearian actor of a generation earlier, he had first won favour with Melbourne audiences in the pantomimes of the 'seventies. Then he formed a company of his own touring Australia and New Zealand. Ultimately he succeeded Mr Coppin, who had passed the Biblical limit of three score and ten, as lessee of the Royal. Now he, in his turn, is enjoying a green old age among us, with Mrs Holt, who shared his popularity in those days when, turning the stage into a racecourse, he hung his back cloth right out in Little Bourke street, and had real horses and jockeys galloping up the ramp and out again into the lane at the side,
In 1904, when William Anderson was sub-lessee of the Royal, it was decided to remodel the inside of the theatre and remove one of the galleries. The last performance under old conditions was given on September 3, 1904.
Article:  THE THEATRE ROYAL EIGHTY YEARS OF THE DRAMA, The Argus, 4 November 1933, 10
-
As this magnificent Temple of the Drama is announced to be opened for the first time on Monday evening next, a narrative embodying the history of the edifice, and a description in detail of what has already been affected may be interesting. We accordingly now present to our readers the whole of the particulars with respect to the subject which have come under our notice, and which we confidently expect will be considered by all who have read in these columns our statements from time to time in relation to the progress of the extensive undertaking, as a full and sufficient warranty for our previous remarks.
The idea of erecting a large theatre in Melbourne originated with Mr John Black, who, notwithstanding many impediments which have periodically opposed themselves to the work he took in hand, has now the satisfaction of seeing his design practically carried out. The magnitude of such an undertaking, the immense outlay of capital involved, and the difficulty of obtaining a sufficient supply of skilled labor, would have deterred many from entering into a speculation the profits to arise from which could not be immediately depended upon, had not the loss of interest, and, indeed, the great risks attending the investment, been sufficiently calculated to operate in that direction. But Mr Black had already signaled himself by his erection of the fine building known as Tattersalls, and the energy of character which he is known to possess no doubt prompted him to undertake a work which it is certain would have been immensely profitable had it been completed in the time originally intended, or had not the pecuniary circumstances of the colonists experienced so marked a change during the last twelve months. The rest was, however, incurred and it will now remain with the public to decide whether the £60,000 spent for their advantage in the erection of the Theatre Royal has been fruitlessly laid out. Our particular business at this moment is to lay before them a statement showing how far Mr. Black’s enterprise merits their support.
The site of the new theatre was a fortunate selection, being, perhaps, the very best that could have been made, as it is central, and has the additional advantage of abutting on the most populous street of our city. The premises have a frontage of 91 feet to Bourke street, and extend through the allotment to Little Bourke Street, the depth being a little over 313 feet. The buildings cover an area of upwards of half an acre. The architectural peculiarities of the front elevation are massive and elegant. It is in the Corinthian order, and the entablature and pediment are supported by four nobly-proportioned columns: the former is continued to the side walls, and additionally upheld by elegant pilasters. This portion of the theatre is designed with much artistic skill, and when plastered will be one of the handsomest edifices in Melbourne. The archway beneath the pediment forms the principal entrance into the building, and conducts, through a lofty covered way, to the spacious and beautiful hall which was for some months used as a concert-room. The lower portion of this hall is built in the Ionic order, the entablature being supported by twenty-one pilasters of which the upper are of the Corinthian Order. The doors to the east of the archway lead to the refreshment rooms, and the private apartments belonging to the hotel, and the entrance to the dress circle, are also in that direction. The arrangement with respect to the approach to this circle has been admirably contrived, as the entrance is distinctly separated from any other portion of the building, and leads to no other division of it. The rooms over the bar on the hotel on one side, and the restaurant department on the other, will be appropriated to the use of the visitors to the dress and upper circles, that to the right being for the former, while that to the left will be laid out as a refreshment saloon, communicating with the latter. The façade of the theatre is at the northern extremity of the hall, directly opposite the covered archway. It is recognised by the words “Theatre Royal” engraved on the frieze and is embellished by a well-executed piece of Relieve work, placed over the Corinthian entablature, and representing the “Triumph of the Muses,” who are depicted according to their several attributes. The facade to the entrance hall has three large doorways, of which the centre one leads to the pit; that on the right, to the stalls; and that on the left, to the upper circle. The last is reached by a handsome winding staircase, and on the first landing there is an opening which communicates with the saloon. The entrance to the dress circle we have already stated to be from a distinct building at the eastern extremity of the front of the theatre. The staircase extends 100 feet, and the visitor to this part of the house has the extra accommodation of a waiting room. There are also two apartments in which cloaks and other outer apparel can be left, and they will have communication with the principal saloon. Both of these upper saloons have been decorated in the most expansive style, and every attention appears to have been paid to ensure the visitors comfort, as well as to please his eye.
The interior of this magnificent theatre even surpasses the anticipations of the person who has only seen the outside, and marked the admirable taste and ingenuity displayed in the arrangements of the various approaches. Its dimensions as well be seen by the measurements which we subjoin, even exceeds in many particulars, the great theatrical establishments of Covent Garden and Drury Lane. But the comprehensive beauty of the arrangement of the auditory in every part of the house strikes the visitor at once, especially when looking from the stage, as of no ordinary character, and reminds him at once of the interior of Covent Garden Theatre since its reconstruction. The admirable proportions of every part, and the adaptation of the position of the seats in the boxes, the flooring of which has a gradual inclination towards the stage, for a complete view of what takes place thereon, are at once remarkable, and testify to the skill of the architect and his thorough acquaintance with the kind of operations entrusted to him. In extent of depth the theatre is, altogether, 212 feet, counting from the extremity facing the entrance hall to the back of the stage. The audience portion of the building comprises three ranges of galleries, the two lower being the dress and upper circles, and the third the gallery proper. The sides of the last are partitioned off for slips with which the upper circle communicates. The parterre divided into the pit and stalls is extremely large, extending the whole length of the building and carried under the boxes round the house. The stalls consist of the first seven seats counting from the orchestra. The dress circle is well arranged, the seats having stuffed backs and cushions. There are seven private boxes in this tier, some of which have accommodation for four and others for six persons. They are constructed upon a novel principle, being placed at the rear of the first unenclosed seats. The upper circle has two private boxes on either side, exclusive of those in the proscenium, to which we shall presently refer. The gallery has seated capacity for 700 persons, and also appears well adapted for sight. The accommodation is altogether adapted for 3300 persons.
The proscenium is of remarkably handsome construction. On each side, rising from the base formed by the flooring of the stage, are two demi columns, of the Corinthian order, and the fluting and capitals of which are richly gilded. These support an entablature, of which the medallions are beautifully picked out with gold. Over the centre of the proscenium arch, which is of the best model, is the Royal arms, in alto relievo, with the supporters couchant, and elaborately decorated in burnished gold. The wings of the proscenium contain three private boxes on each side, which will, it is said, be finished in the most elegant manner.
The principal ceiling is constituted by a vast circle, including two lesser, the latter being subdivided into numerous panelled compartments, having borderings ornamenting it with floral clusters, encircled by amulets. The large spaces are adorned with objects of classical design, the whole radiating from a superb centre of Papier Mache, and carrying out the design of a halo or glory. The carved ceiling over the proscenium is a continuation of the grand roof of the auditory.
The fasciae of the box tiers bulge or swell outwards in the graceful manner observable in Covent Garden Theatre, and will be decorated with rosette and wreaths in running patterns, the prevailing colors being cerulean blue and light pink. The back and sides of the dress and upper circles are covered with a handsome papering of a dark crimson; in the slips, the prevalent color is marone, while the walls of the pit are covered with a representation of oak panelling. To the gallery and upper circles are attached sixteen handsome brackets, suspending highly wrought chandeliers, modeled in Papier Mache in Louis Quatorze. These are exceedingly handsome and have been fabricated on the premises; they are richly gilt. Each chandelier has five burners.
The act-drop is a clever adaptation of Turners celebrated picture of Ancient Rome. The view is surrounded , as if enclosed in a frame, by a well-executed border, upon which is depicted sportive Cupids, so, the effect of the whole being heightened by the points being marked out with gold. The principal artist engaged upon this extensive work is a Mr Horne, who has certainly as far as the effect of the picture can be judged of by daylight, admirably succeeded in transferring to his own canvas the magnificent style of the great English master. Mr Horne appears of have received efficient aid from Mr Holmes, and other assistants, of whose names we are ignorant. The weight of this scene, with the roller and necessary adjuncts, is about 800 lbs.
In order to give the public an idea of the extent of this remarkable edifice we place before them a comparative statement of its dimensions with those of Covent Garden and Drury Lane Theatres, the first column of figures referring to our Melbourne Theatre Royal, and the second and third respectively to Covent Garden and Drury Lane:-
(Measurements in feet)
From curtain to back of boxes 76, 75, 78
Width across boxes 64, 65, 70
Width of proscenium 45, 42, 46
Width of curtain 38, 34, 35
Extent from curtain to orchestra 12, 13, 12
Extent of stage 100, 68, 96
Depth from upper floor to mezzanine Floor 8, 8, 10
Height of flats or transverse scenes 21, 21, 21
Width of ditto 14, 14, 14
Height of wings 21, 21, 21
Width of ditto 8, 8, 8
The extent of the accommodation is as follows:- dress circle 450, stalls 200, upper circle 600, slips 150, pit 1100, gallery 700, 15 private boxes 90. Total seated capacity for 3300 persons.
The theatre throughout has been erected with every regard to the proper conveyance of sound – the circle at the rear of the boxes being constructed of solid brickwork, and the whole plastered. Great care has been especially taken to avoid sharp angles. The magnificent sweep of the stage will, of course, afford the means of producing spectacles with a splendour of mise-en-scene hitherto unknown in these colonies. At the back of the stage are the green-room, managers office, and the dressing-rooms, and wardrobe depository. The stage floor has been laid down in accordance with the latest improvements, being pierced in all directions for traps and the raising and descent of machinery. There is splendid cellarage accommodation which extends beneath the entire stage. The tires over the stage, and which are technically known as the ‘Flies” are set in two stories which are supported by the side walls and by trusses from the roof, and upon these the windlasses and machinery for raising or lowering the curtain, act-drop, and upper scenery are stationed.
In the rear of the building extensive gas works are in course of erection, and are to be finished by the opening day. An immense tank has been sunk, of 25 feet in diameter, and which holding capacity for 38,000 gallons of water. The gasometer will contain 7000 cubic feet of coal gas. The gas will be supplied from six retorts of large size, and the purifying and condensing apparatus is on the same extensive scale. The works have been erected by Messrs Laurie Layton, and CO., of this city, at an immense expense. The works are calculated to supply 600 burners.
Our inquiries having also extended to the nature of the foundations, we find that they have been laid upon a thick stratum of clay and are in several places ten feet deep. The walls to the height of twenty feet, are built with fire-brick, and these were allowed to rest for several months before finally built upon, so that it would appear that there is no chance of settlement. The roof has been constructed from a design furnished by Mr Merritt, the architect of the Victorian Exhibition building; and the building has from the very commencement been under the immediate superintendence of Mr Black, whose own experience in the conduct of extensive building operations has been combined with that of Mr Powell, of this city, from whom he has received the most effective assistance. For a list of the company, we must refer our readers to the advertisement in another column, by which it would seem that every attention has been paid to the securing of all the available histrionic and instrumental talent in the colonies. A great proportion of the members of the company have not hitherto made their appearance in Melbourne, but from the professional reputation of many of them, high expectations of excellence are held out. The stage will be under the direction of Mr Charles Poole, whose lady has been retained for what is designated leading business. Mrs Poole made her debut in Sydney about two months back, with considerable success, and we have heard several competent judges express a most favourable opinion.
The band is also the most effective one certainly that could be collected in Victoria. It will be conducted by Mr E. Thom, whose high attainments in his profession are acknowledged in England, as well as here. The principal scenic artists are Messer’s Horne and Holmes, Opie and Fry.
In order to ensure the complete respectability of the audience on the opening night, as well as to prevent an overcrowded attendance, the prices on that occasion will be raised beyond what is intended to be the scale for subsequent adoption. The opening address will be delivered by Mr Black, the proprietor: and the dramatic performances on the first night have been arranged to include Sheridan’s “School for Scandal”, a ballet divertissement, and the farce of the “actress of all work”; in the latter of which the celebrated infant actress, Miss Anna Marie Quinn, will make her debut.
Our attention has been directed to an [illegible] restriction which at present is imposed by the Governor in granting licences for dramatic entertainments – we allude to the prohibition of performances on Saturday evenings. In referring to this we do not wish it to be implied that it requires the opening of a large establishment like the Theatre Royal to attract our notice to this manifest absurdity. Some time back Mr Coppin endeavored to get up a memorial in favour of the theatres of Melbourne being, in respect to Saturday Night performances, placed on the same footing as those in Sydney: but he was not supported by some of the proprietors of the establishments which then only existed. The ridiculous notion that theatrical performances ought expressly to be forbidden on Saturday nights, when musical entertainments, including performances of vaudevilles, such as were played by the Nelson Family, and others, were allowed ought surely to be apparent in this day. Casinos and public houses are permitted to be open, and indeed it would almost appear that the sapient individual, whoever he was, from whom this nonsensical but oppressive restriction originally emanated, was so far blinded by his bigotry as to forget that his prohibition was in fact tantamount to forcing the public to the low dancing saloons and concert rooms for amusement, to the discouragement of a rational and improving entertainment such as the stage affords. We are informed that there is, in fact, no law under which the prohibition of theatrical performances on Saturday evenings can be maintained; and we therefor trust that his Excellency will at once see the necessity for dispensing with the annoying qualification contained in the present form of license, and which not only operates to the great disadvantage of the theatrical manager, but is decidedly an undue interference with the amusements of the public.
Article:  THE THEATRE ROYAL. (1855, July 10)., The Argus, 10 July 1855, 5
-
Article:  The Theatres, Weekly Times, 28 May 1892, 17
-
Article:  THEATRE ROYAL (1907, April 15)., The Herald, 15 April 1907, 5
-
“La Sonnambula” was repeated last evening for the third time, to a well-filled house, and the applause was as hearty as it was occasionally undiscriminating. On Monday night, Mr. John Black takes a complimentary benefit, under the immediate patronage of Sir Charles Hotham.
Article:  THEATRE ROYAL. (1855, October 27), The Age, 27 October 1855, 5
-
During the last week, the interior of the Theatre Royal has undergone such a thorough transformation that it was scarcely recognisable under its new aspect when opened for promenade concerts on Saturday evening. These entertainments are, we believe, the joint enterprise of Mr W. S. Lyster and of Messers, Spiers and Pond, and they have been got up with a liberality of expenditure, and are conducted in a spirit, which entitle them to the success achieved by the first of the series. The pit of the theatre has been boarded over on a level with the stage, and as the whole depth of the latter has been thrown open, an immense area is thus secured for promenading. An elevated orchestra has been constructed immediately beneath the proscenium, and is occupied by a band which includes most of the best instrumentalists in Victoria, under the conduct of Mr. A Rolff. The stage itself presents the appearance of an elegant pavilion, decorated with shrubs, and brilliantly illuminated, and the general effort is light and cheerful, and reflects great credit on Mr. Hennings, who has superintended its metamorphosis. Where the wings need to be on either side, four spacious alcoves have been erected, furnished with lounges and marble tables, the walls being ornamented with fluted drapery of various colours; the unsightly flies are concealed from sight by folds of particoloured cambric; and at the extremity of the stage the roof of the pavilion slopes down to what resembles a balcony, looking out upon a view of the Bay of Naples, from the expert pencil of Mr. Hennings. Along this balcony is ranged a refreshment bar, in the arrangement of which a good deal of taste has been displayed. We should also mention that the Vestibule has been redecorated and renovated, and constituted a sort of smoking saloon, as this practice is rigidly interdicted in the theatre; nor was there any attempt to resort to it on Saturday evening on the part of the promenaders, amongst whom the utmost decorum prevailed. Between 2000 and 3000 persons were present, notwithstanding the unfavourable condition of the weather; and the house presented a really brilliant aspect, whether viewed from the boxes or the promenade, recalling to recollection the appearance of Drury Lane when Jullien used to wield his baton, with so much affectation and effect, in an orchestra which has contributed two or three of its best soloists to that of the theatre royal.
It is unnecessary to say that as the principal vocalists presented themselves to take part in the concert they were greeted with acclamations, and that the appearance of each of them was a signal for the promenaders to gather in a compact mass round the centre of attraction. The programme was judiciously selected, for while the works of the best composers were not neglected in it, it comprehended some of those Jullienesque polkas and quadrilles which are so popular with a mixed audience; and the vocal pieces embraced familiar ballads, as well as selections from choice operas. Madam Lucy Ascott was in excellent voice, and sang the “Robert, toi que j’aime” splendidly; and great praise must also be awarded to Mr Henry Squires for his beautiful execution of “Come into the garden, Maud.” In the famous old ballad of “Sally in our Alley” he was vehemently encored, and a similar compliment was awarded to Mr Farqhuarson for his spirited delivery of the descriptive scenes of the “Ship on Fire.”
Among the instrumental selection given on Saturday evening, special mention must be made of a clever pot pourri, arranged by Mr. Reiff; and the “Carnival of Venice,” with variations for a number of instruments, arranged by Herr Siede, whose solos on the flute were as admirable as those on the flageolet and cornet a-piston by Mr. Kohler, who rivals his former colleague, Herr Koenig.
Altogether the performance was extraordinary, when we take into consideration that the price of admission to all parts of the house, except the dress circle, was only a shilling. A few years ago, people in Melbourne would have cheerfully paid half a guinea admission to an entertainment of a far inferior character, and it is not surprising, therefore, to find so large a concourse of persons flocking to the Theatre Royal on Saturday evening, in spite of the rain, and mud, and cold, to listen to what we must characterise as the cheapest and pleasantest popular concert ever given in this city.
Article:  THEATRE ROYAL. (1862, May 26)., The Argus, National Library of Australia, 26 May 1862, 5
-
Article:  THEATRE ROYAL. (1903, December 17)., Table Talk, 17 December 1903, 15
-
Article:  THEATRE ROYAL. (1904, March 14)., The Herald, 14 March 1904, 3
-
Article:  THEATRE ROYAL. (1907, April 8), The Herald, 8 April 1907, 5
-
Article:  THEATRE ROYAL. (1907, October 7)., The Herald, 7 October 1907, 5
-
We were glad that our vaticination as to there being a crowded house on the occasion of the complimentary benefit to Mr John Black, as the originator of the Theatre Royal, was in every respect fulfilled last evening. Every part of the theatre was crammed, and the ladies of Melbourne, by their attendance in considerable numbers, satisfactorily proved that the appreciation of Mr Black’s efforts was not confined to the citizens of the other sex. His Excellency had announced his intention of patronising the performances; and in consequence of the non-arrival of the vice-regal party until nearly half an hour after the time advertised for the commencement of the evenings entertainment, a delay to that extent was occasioned. This arose out of the custom (“More honoured in the breach than the observance”, since the etiquette does not appear to be reciprocated) of inaugurating proceedings by the performance of the National Anthem on the Governor’s entering his box. The delay caused considerable dissatisfaction, and no doubt will account for the large proportion of hisses which characterised the reception of the Vice-Regal party on their entering of the theatre. At this time the appearance of the audience part of the house was brilliant in the extreme, the dress circle being completely occupied, and the gorgeous attire of the ladies mingling with the handsome uniform’s and dress-appendages of the officers of the garrison and the Rifle Corps, presenting a very splendid Coup d’oeil.
The curtain at length having been raised, the following address, written expressly for the occasion, was spoken by the author R. H. Horn, Esq., author of “Orion” &c,’ President of the Melbourne Garrick Club:-‘
How many centuries have slowly roll’d
Their great events o’er our maternal lands:
Lands we may well regard as nations old
While we are infants – but with giants hands:
Men’s heads, and their experience here, are young;
Their working powers have grown too fast and strong.
Hence have their vigorous hands too much essayed:
Accomplished mighty things against time and tide,
Then stagger’d ‘neath the conquests they have made,
O’er leaped their sells – and “fall’n o’the other side;”
While adverse winds, changed times, bad luck, bad weather,
None could foresee, came howling on together.
Men speak in this not only for themselves;
Merchants, mechanics, tradesmen, stockmen, sailors,
Land-owners, speculators – cunning elves –
Rich jewellers, drapers, publicans and tailors;
Nay, millionaires, with all their golden bobbery,
Have burned their fingers with the cleverest jobbery.
Grant some men built too fast, - imprudent, wrong, -
Would prudent men have given you such a house?
You have Black’s work, may you enjoy it long;
His tenure here at best is hazardous;
Lessees and managers are like new plays;
None can predict the number of their days.
But though great loss is all their present mead,
You would not in the first act see them die?
Help them once more to take the field and bleed:
They have fought bravely in their infancy.
You will not suffer, as their final gains,
A falling room to crush them for their pains?
The shadows of the night are but the nurse
Of flowers, fruit, foliage, ere the sun arise:
No spirit lies with in you creeping hearse –
It soareth upward to the opening skies!
Nor doth it need romance or poet’s verse
To tell how art my droop – it never dies;
So shall the drama live through cloudiest nights –
Here strike its roots and teach while it delights.
The opera of “La Sonambula” preceded by Flotow’s fine overture to “Stradella” was repeated for the fourth time, and achieved, as on the previous occasions of its performance, the most unqualified success. Miss Hayes was in magnificent voice, and threw great vigour into her acting. Madam Carandini was also most successful in her impersonation of Elvino. At the conclusion of the opera Mr. Black was loudly called for, and at length appeared in front of the curtain. Addressing the audience he said that he thanked them for the manner in which they had evinced their sympathy with his reverses and their approval of his enterprise. “He had, like others, been blamed for what he could not avoid, but he would ask these self-appointed accusers, whether, in the event of their having sustained the losses that he found accrued from the speculation, they would not have left the theatre a heap of ruins rather than have risked their all by finishing it. He wished particularly to thank Miss Catherine Hayes and the company attached to the theatre, who had given their gratuitous services that evening; and , in conclusion, begged to thank the company for their countenance that evening, which sufficiently proved to him that he preserved the esteem of the public, notwithstanding the reverses which had overtaken him.
The remainder of the entertainments, consisting of the performance by Miss Sara Flower (who was evidently suffering from severe indisposition) of the celebrated romance “Robert, toi que j’aime,) and the ballet of “La Giselle”, were scarcely so successful with the audience as the opera. With regard to the ballet, we must suggest an alteration in the ladies dresses, especially in the second act; for, with respect to this species of performance, it is absolutely absurd for the corps de ballet to appear in long dresses, or rather robes, such as were worn last evening.
Article:  THEATRE ROYAL.—MR. BLACK'S BENEFIT. (1855, October 30)., The Argus, 30 October 1955, 5
-
From the first of next month an important change will be made in theatrical management, not only in Victoria but also in the other colonies, which must have a potent effect in determining whether or not the stage, as an influence on the community, is to be more of less powerful than it has been in the past. For many years Mr Coppin, associated with gentlemen whose names have been before the Victorian public for a long time, has been at the heed of theatrical affairs as far as Melbourne is concerned, and during that time the management of the Theatre Royal can fairly claim that not only has the pleasure of their patrons been studied, but that commendable efforts have been made to advance the interests of the drama. The limits of this notice would not suffice to enumerate a very small number of the artists who from time to time have graced the boards; but it is sufficient to say that we have had amongst us men who have acquired a reputation that is worldwide, a result due to the enterprise of those who have catered for the public amusement. Mr Coppin and his confreres have grown grey in management and having reached the age when rest is desirable have transferred the management to other and younger men. On the 1st of July next Messers Williamson, Garner and Musgrove become the lessees of the Theatre Royal, Melbourne and Sydney, The Princess’s Theatre, Melbourne, and the opera House; and we also understand that they are connected with Mrs Allison, the lessee of the principal theatre in Adelaide. Each of these gentlemen has had a lengthened experience of the requirements of the colonial stage. Mr Williamson is an actor who in his peculiar line occupied a foremost position on the stage. Mr Garner was a member of the finest comedy company that had ever visited Australia and has since had a very long experience as a manager in Sydney; while Mr Musgrove, a nephew of the late Mr W S Lyster, made a brilliant success of his first managerial venture when he brought out the Tambour Major company that recently created such a furore at the Opera House. This is a combination of business and dramatic talent that cannot be excelled in the Australian colonies, and must result not only to the satisfaction of the public, but to the pecuniary benefit of those immediately concerned. The new managers propose to produce in rapid succession the latest and best dramatic and musical pieces, with that attention to detail which distinguishes the best English and Continental theatre, and which goes so far to insure the success of a piece, Messers Hennings and Gordon, whose reputation as scene painters is as high, if not higher, than any other two men in the profession, have been specially retained for this important branch of the art, and from the fact that the management intend to keep their theatres always open it is certain that actors will not have the slightest difficulty in obtaining engagements. Mr S French, one of the leading dramatic agents in London, has received carte blanche to forward any new pieces that may be produced in the old world irrespective of cost, and each will be given in exactly the same manner as it is in London or Paris. Orders involving large sums of money have been sent home to augment the wardrobes and scenic accessories of the various theatres, and with the amount of capital that has been put into the concern, it is certain that success will be deserved and is sure to follow, as the Australian public readily appreciate every effort that is made for their amusement. The first performance under the new management will be Patience at the Theatre Royal. This comic opera is said to be the most successful of the many comic operas that Messers. Gilbert and Sullivan have written, and will be produced with an exceptionally strong cast, backed by all the assistance that scenic effect and stage mechanism of the highest order can give. The company will probably include misses Alice Ross, Beaumont, Verdi, Vernon and Ford, besides others of lesser face, assisted by a capable chorus, and an orchestra under Mr Van Ghele, which is sufficient guarantee for its excellence. Patience will be succeeded by La Mascotte, a French opera bouffe of something the same character as Madame Favart, and which has been a great success in London and Paris. La Mascotte will be followed by Billie Taylor, and this in its turn, will give way to a dramatic season, which will commence with The Lights of London, Mr Rignold and the company which recently played Youth being the dramatis personae. Other novelties will follow, and the dramatic season will continue up to Christmas, when some new comic operas will succeed. On the 9th July Miss Emilie Melville, who was a great and deserved favourite when she last appeared before a Melbourne audience, will open at the Opera House in La Perichole with a strong company, but for obvious reasons the names at present are not given. She will continue the season until the time when Messrs. Wallace and Dunning’s occupancy commences. These gentlemen are now in England, and according to recent advices are engaging a strong company, and securing some novelties with which to commence their season in November next. At the Prince’s the Grasshopper will be succeeded by a farcical comedy entitled Where’s the Cat, which has been a wonderful success at the Criterion Theatre, London, and on its withdrawal Miss Jennie Lee’s company will probably go to Sydney, and Miss Melville will appear at the Princess’s. The companies of the three theatres will visit Sydney at intervals, and the whole of the houses under the presented management will be improved and redecorated before any representation is given. Altogether a new order of things is promised, and if it is carried out, as we have no doubt it will be, not only the public, but the profession, will be the gainers.
Article:  Theatrical Changes, The Age, National Library of Australia, 24 June 1882, 3
-
It is seldom in the history of the world, let alone the history of so young a colony as this, that in so short a space the chroniclers of the time have been called on to record the destruction of three theatres. The Royal stood yesterday the last of three of the finest theatres in the Australasian group. It is now a heap of charred and smouldering ruins, the only vestige left being the bare walls, within which, in times gone by, so many tragic scenes have been rehearsed and enacted. Coming so directly after the destruction of the Prince of Wales Theatre at Sydney, this disaster is a terrible blow to the profession. Read by the light of facts, it means simply to almost numberless families ruin. This is the more to be regretted as there seems no scope of the outlet of the talent now pent up in Melbourne in any direction. Nor is it reassuring to remember that the theatre has been destroyed on the very threshold of one of those seasons during which actors, as a rule, look to a fair accession of profits to recoup them for their losses during other and duller parts of the year. We can dwell with a melancholy remembrance on the history of the place which now is to be known no more amongst us except as a name. how the company first formed to erect it, of which Mr. Black was the managing and moving man, came to untimely grief; how it afterwards fell into the hands of Messrs. Brooke and Coppin; how then there were some glorious revivals of the Shakespearian drama; how they didn’t pay; how it fell then into a state of comparative destitution, and was not one of the favourite resorts of Melbourne amusement seekers, till Mr. Sullivan stepped in and restored it to all its old glory by the revival of Shakespeare, with a sheen of scenery never before equalled in the colony; how, after Mr. Sullivan’s departure, the establishment fell into the hands of Messrs Vincent, Lambert, Harwood, Stewart, Hennings, and Bellair; how the latter soon retired from the firm, and Mr. Vincent was summoned by the grim serjeant just at the time when the wind seemed set in the sail of the ship which had surmounted so many buffetings; how Mr. Lambert retired to a life of ease, and the other lessees were brought out by Mr. Coppin, is matter of history, and we may now content ourselves with saying that, on the expiration of his lease, the theatre would have been gutted to meet the demands of the Government. One strange fact may be mentioned. Not a week ago Mr Coppin mentioned to the writer of this his complete satisfaction at the success of his season, and said that the only thing which could prevent him from retiring from the lesseeship of the Theatre Royal with a large sum to his credit would be a fire. That has come to him in a moment when he was preparing vigorously for his Easter piece, and when he had in preparation many novelties of which the Melbourne public would no doubt have been entirely appreciative. It is strange that the calamity should have come at this particular juncture, when Sydney is destitute of a theatre, and when Melbourne is bound to operate for at least some months. As we have said, the professionals in Mr Coppins employ will really be the greatest losers by the fire. Some of them have lost their all; most the them are unable to withstand the necessities of a long period of non-employment. In the name of common fairness, they who have given so much in their day to the charities of Melbourne can now ask from the people of the country for a return. Eastertide is nearly here, and Easter should not pass without a spontaneous demonstration on behalf of the poor actor.
Let us tell the history of the fire:- Two men named William Goulding and John English were sleeping on the premises, English being on the stage and Goulding in the green-room. English first gave the alarm of fire. Its first appearance was through a wall behind a frame on which the scenes were painted. English describes it as having been like a “handful of fire.” It caught the partition between the painting room and the property room, and at once spread to great proportions. The dressing rooms were speedily attacked by the flames, which reached the stage almost at a leap, and obtained such a hold on the scenery and the “flies” as made their extinction an impossibility. The fire brigade was on the spot, under the command of Mr Hoad, as smartly as possible, but hardly anything could be done, through the manner on which the spot where the fire raged, the auditorium of the theatre, was hemmed in. All was speedily in a blaze, and terrible was the sight as the great body of fire and sparks rolled up. The town was illuminated as by the electric light, and in the dense throngs which assembled along the neighbouring street faces could be distinguished over the way as if the sun was shining. The whole of the interior of the theatre is destroyed, and it lies gutted just like the Haymarket. The crowds at the back and front could hear the galleries come down one after another, like the booming of great guns. A quantity of mimic fire had been stored in a room at the back of the theatre, which is, or was, of corrugated iron. While this was in flame, and peeling off like paper, the stage fire, stowed away in parcels, also caught and sputtered away in blue and red in a highly picturesque manner.
The value of the property lost on the theatre can hardly be estimated at present. The management have lost the stock of scenery, properties, and the wardrobe belonging to the theatre. Nearly all the performers have also lost valuable portions of their private wardrobes. In this way the private loss will vary from £10 to £50, at least, per individual. Our visitor Mr Carden, is, fortunately for himself, among the lightest sufferers in this way. Besides all their loss on the way of dresses and other effects, a great number of performers and other person attached to the theatre will be thrown out of employment. Altogether there will be about 150 with their means of livelihood thus struck away, at least temporarily. The list includes actors and actresses, machinists, check-takers, and a crowd of other busy people, of whose necessary avocations in the carrying on of a theatre the outside public have no conception of.
The performance of the Streets of New York, which, by the way, included a sensational fire scene, terminated at a little after eleven, and many of the audience were in their beds when the conflagration broke out. How many of them thought, as the sham fire was represented on the stage, with the mock tocsin, the flames seen through the painted canvas, and the great effect of the burning house fronts falling with a crash upon the stage, that the actual scene was so soon to be enacted with the very theatre itself? The reflection immediately suggests itself, as it does after (the burning of every theatre we had almost said) every fire at a closed theatre what if it had occurred a little earlier? Suppose the conflagration in this case had begun an hour and a half earlier, just when the stage fire was going in, and we may wonder in which way the question of the sufficiency of the fire escape doors would have been solved. Had the fire broken out not where it did, while the audience were in the main theatre, the first impulse would be to prevent a panic. The audience would not be told at first. But the fire seems to have spread with a rapidity which would have made all efforts futile to stop it on the part of those behind the scenes. The whole theatre was wrapt in flames half an hour after the “handful of fire” was seen by English. That handful was, perhaps, smouldering away, like a grim demon, even while the actors were playing with their harmless fire at the front, before a delighted audience. We are not aware that there is any reason to connect the stage fire with the actual catastrophe. There are vague fears that it is the work of some incendiary.
No doubt thousands will visit the ruins today, and those who were at the performance last night will hardly look on the scene without a shudder. Nothing is left of the old house. The stage, with its gilt pilasters of open columns and panelled proscenium surrounded by the Royal arms, the three tiers of boxes in white and gold and the grand ceiling with its dancing muses – all,. All, have vanished; and
Like an insubstantial pageant faded
Left not a wrack behind.
There is not even a picture of our old Drury to bring its existence to the memory. Like the triumphs of the great actors who have trod its boards, it must live only in the recollection of the playgoer. No doubt a new, and perhaps a grander house will spring, like a phoenix, from its ashes, but it will not be the old Royal! No memories of Brooke, of Sullivan, of Jefferson, of long Sir William Don, of Walter Montgomery, of Charles Mathews, will haunt the new Royal. Probably it will be an opera house. But there is no time now for these reflections, and plenty of time to mourn. Old recollections and old stories about the national playhouse, round which so many fond memories cling, will doubtless well up ever and anon.
At two o’clock the fire had begun to sink, and thenceforward it died away slowly. In another hours’ time there was only a black and smouldering mess, over which the water jets went hissing, and sending up clouds of steam from the ruins. The fire had wreaked out its full force, almost without let or hindrance, so far as the theatre was concerned.
The disaster unfortunately was not confined to the Theatre Royal alone. The adjacent buildings suffered to some extent also. Not from the process of the conflagration so much as from the attempts made by well-meaning but injudicious persons to save the property contained in them. The fire ignited the roof to St Georges hall, and at one time it was feared that this also would be destroyed. The flames were extinguished more than once, but the roof again caught, and it was only by a steady and well-directed stream of water being kept constantly flowing on the building that all danger was at length averted. The damage done to the upper hall is very slight, and from £20 and £30 is the extent of the loss. The roof at the farther end is partially burnt, and the flies and stage appurtenances are damaged by water. It is anticipated that the troupe of comiques will be able to continue their performance, at any rate in a date or two, notwithstanding the fire. This is the more to be desired on their part as the rent of the ensuing week had just been paid. The damage done to the lower hall, occupied by Mr Pain’s exhibition of Australian and Polynesian curiosities, is, however, much more extensive. Very soon after the commencement of the fire, this place was opened, and an attempt made to save some of the articles. Packages and cases were bundled out in the street, being considerably damaged in the transit; but the more valuable portions of the museum were so fragile that they could scarcely be removed without being destroyed. The cases of insects, birds eggs, and the pictures, were irretrievably injured. The large model of Ballarat was too unwieldy to remove, and was allowed to remain in the hall, the solitary wreck of an exhibition which it had taken Mr Pain twenty years of toil and unceasing labour to collect. General commiseration must be felt for Mr Pain. He was dragged from his bed to learn the heavy blow which had befallen him, and which robbed him of the fruits of his lifetime. He estimates the value of the collection at £8000, but his loss it is at present impossible to calculate until he can go over the remains of his property. He was not insured for one penny, as the insurance offices refused to accept the risk.
The progress of the flames was arrested before two o’clock, and the conflagration confined to the theatre itself. The pit of the theatre was like a burning hell, and the streams of water poured upon it from all available points produced but little apparent effect. Clouds of steam were the only result visible, and the fire in that quarter would evidently last from some hours. All danger of its spreading however was averted. The front portion of the building, the Café de Paris, was not injured very appreciably except from water, and the damage inseparable from a fire of that magnitude. The dress circle bar was flooded, the hose being carried through it; but beyond this there was nothing injured. The stock was thrown into some confusion, and a few bottles of spirits might have been taken. The billiard room was not damaged at all. The vestibule was also uninjured and, in this portion of the building, the fire did not extend beyond the limits of the theatre itself. While the fire was at its height and the water was being directed into the theatre from the dress circle door, some little alarm was occasioned by a portion of the ceiling above tumbling on the head of the person beneath. A rush was made to get away, but it was discovered that the fall was slight, and work was again proceeded with. The entrance up to the dress circle has not been burnt, and the warning placard that the free list had been entirely suspended, except the press, still hung there. The warning, however, is useless now, and even members of the press are not likely to exercise their privilege of entering. In addition to the Metropolitan Fire Brigade there were present also the brigades from most of the surrounding boroughs – Sandridge, Hotham, Emerald-hill, and East Collingwood were all noticed there, and did good service. A rumour was prevalent that about the time the fire broke out, so as to be observable in the streets, a man was seen on top of the roof, the suspicion of course being that he was an incendiary. His presence, however, in that position may be explained. The man was passing at the rear of the theatre, and he observed smoke issuing from it. He dashed open the doors and climbed upon the roof, with the object of extinguishing the fire. He found the task too much for his energies, and had to descend.
It is believed that very little of the property in the Theatre Royal is insured. Mr Coppin says that there is a £1000 policy on some of the ground landlord’s property. But Mr Coppin, who had power to get the theatre at the end of his lease, is the greatest loser. Among the property destroyed is Mr. Flemming’s latest panorama of the overland route, and a whole host of collections of his finest paintings.
For more than half an hour there seemed every probability of the fire extending to the Chinese quarters, and the tenements between the east wall of the Theatre and Davis-lane, a right of way which runs from Bourke street to little Bourke street, was a scene of indescribable confusion. The frail tenements were like rabbit hutches, both in their construction and the living swarm which they held. Every house contained an almost incredible number of Chinamen, and it was difficult to get them to understand their danger, or to arouse them from the stupor into which many of them had fellen. Between opium and stupidity many of them would have remained in their houses but for the exertions of the police and the bystanders. But when once they were thoroughly alive to the risk they were running, they got to work vigorously; and in a few moments the street was full of Chinese furniture, knick-knacks, and the usual Celestial paraphernalia, including several half-caste children and a large number of women. It was not too soon, for one of the houses in Davis-lane, at a distance of at least a hundred feet from the theatre, was in flames, and the attention of the firemen being directed to the theatre, it looked as if the whole quarter would take fire. Fortunately a small supply of water was obtained from the taps, and with the aid of a few buckets the further progress was stayed. Beyond a considerable amount of injury sustained by hasty removal no loss was sustained by the Chinese.
Unfortunately the damage was not confined to the persons mainly engaged in the “show business”. Mr M’Donald’s, the well-known photographer, was in extremis. They naturally thought, and rightly too, from the appearance of the fire, that their turn would come next, and an effort was made to clear out the premises. Several persons rushed in, and before many minutes had elapsed the place was quickly denuded, though there was a difficulty in getting down the heavier portion of the furniture. Many thousand negatives of old colonists, said not to be in other galleries, were hurried pell-mell into boxes or carried into the street. A few valuable photographs – amongst others that of Sir James Martin and other colonial celebrities were – destroyed. What was one of the best galleries in the city is now a ruin.
Article:  TOTAL DESTRUCTION OF THE THEATRE ROYAL BY FIRE (1872, March 20)., The Age, 20 March 1872, 3
-
Negative:  Negative of the theatre Royal, Melbourne, Arts Centre Melbourne, Australian Performing Arts Collection
-
Newspaper:  THEATRE ROYAL. (1907, April 22)., The Herald, 22 April 1907, 4
-
Photograph:  Image of the facade of the Theatre Royal, Melbourne promoting Gladys Moncrieff in Maid of the Mountains, Arts Centre Melbourne, Australian Performing Arts Collection, 1921
-
Photograph:  Photocopy of a photograph of the Melbourne Coach Factory (Old Theatre Royal), Arts Centre Melbourne, Australian Performing Arts Collection
-
Photograph:  Photograph of a silk programme for Theatre Royal Grand Opening, 1855, Arts Centre Melbourne, Australian Performing Arts Collection
-
Photograph:  Photograph of a sketch of the New Theatre Royal, Melbourne, Arts Centre Melbourne, Australian Performing Arts Collection
-
Photograph:  Photograph of a sketch of the props room, Royal Theatre Melbourne, Arts Centre Melbourne, Australian Performing Arts Collection
-
Photograph:  Photograph of a sketch of the Theatre Royal, Melbourne, 1875, Arts Centre Melbourne, Australian Performing Arts Collection
-
Photograph:  Photograph of Programme for Theatre Royal, Melbourne, 1872, Arts Centre Melbourne, Australian Performing Arts Collection, 1872
-
Photograph:  Photograph of sketch '7 O'Clock', Arts Centre Melbourne, Australian Performing Arts Collection
-
Photograph:  Photograph of the Theatre Royal, Melbourne, Arts Centre Melbourne, Australian Performing Arts Collection, 1913
-
Photograph:  Samuel Calvert, Photograph of a newspaper illustrating the Sunday Service, Theatre Royal, Melbourne, Arts Centre Melbourne, Australian Performing Arts Collection
-
Photograph:  Samuel Calvert, Photograph of newspaper illustration of Theatre Royal, Melbourne, Special Service, Hospital Sunday, 1873., Arts Centre Melbourne, Australian Performing Arts Collection, 1 November 1873
-
Photograph:  Samuel Calvert, Photograph of newspaper sketch of Hospital Sunday at Melbourne: The Special Service at the Theatre Royal, Arts Centre Melbourne, Australian Performing Arts Collection
-
Photograph:  Samuel Calvert, Transparency, Theatre Royal, Melbourne, Arts Centre Melbourne, Australian Performing Arts Collection
-
Photograph:  Talmar, Photograph, At the Bar, Theatre Royal, c.1865, Arts Centre Melbourne, Australian Performing Arts Collection
-
Photograph:  The Sears Studio, Old Theatre Royal Melbourne...Destroyed by fire in 1872. [picture], State Library of Victoria, 1861
-
Photograph:  The Sears Studio, Photograph, Theatre Royal, Melbourne, 1917, Arts Centre Melbourne, Australian Performing Arts Collection, 30 August 1917
-
Photograph:  Transparency of programme cover for The Merry Widow, Arts Centre Melbourne, Australian Performing Arts Collection, 1930
-
Photograph:  Willabraham Frederick Evelyn Liardet, Photograph of illustration of the Theatre Royal, Arts Centre Melbourne, Australian Performing Arts Collection
-
Report:  Burning of the Theatre Royal, The Argus, 20 March 1872
-
Review:  Theatre and Screen, The Age, 27 September 1933, 9
|
Venue Identifier |
3085 |
Provide feedback on Theatre Royal