Venue |
The Queen's Theatre
|
Other Names
|
Queen's Theatre
|
Address |
Corner Gillies Arcade and Playhouse Lane Adelaide SA 5000 Australia
|
Website |
https://losttheatres.net/
|
Notes
| Opened 11 January 1841. Closed 28 November 1842. Restored, enlarged and reopened as Royal Victoria Theatre 23 December 1850. Closed 10 November 1851. Reopened 1859. Closed 1868. Proclaimed Heritage site 15 April 1994.
|
Related Venues |
|
Map |
|
Latitude | Longitude |
-34.925406 | 138.5955555 |
Events |
|
|
-
Hans & Gret, 3 March 2023
-
Blindness, 23 February 2022
-
A Simple Space, 30 September 2021
-
I Want to Touch You, 30 September 2021
-
Unsung, 28 February 2021
-
Aleppo - A Portrait of Absence, 11 March 2020
-
The Lighthouse, 25 February 2020
-
Madeline Lee, 4 October 2019
-
Christina's World, 2 August 2019
-
Baba Yaga, 27 February 2019
-
Welcome the Bright World, 20 September 2018
-
The Executioners, 8 March 2018
-
Gardens Speak, 4 March 2017
-
The Storm, 2 March 2016
-
101.IS TO 5000.AU, 16 October 2015
-
Reach Out Touch Faith II, 16 October 2015
-
Silent Type, 16 October 2015
-
Stone Tape Theory, 16 October 2015
-
Fight Night, 13 March 2014
-
Kiss of the Chicken King, 1 March 2014
-
BigMouth, 27 February 2014
-
Dust, 3 May 2013
-
Murder, 6 March 2013
-
Doku Rai: You, Dead Man, I Don't Believe You, 28 February 2013
-
Land and Sea, 12 May 2012
-
Weepie, 13 March 2012
-
One, 19 May 2011
-
A Comedy, 4 March 2011
-
Of the Causes of Wonderful Things, 2 March 2011
-
The Life and Death of King John, 25 February 2010
-
Gift/Back, 29 May 2009
-
The Yum Yum Room, 26 May 2009
-
2 Dimensional Life of Her, 18 May 2009
-
Bedroom Dancing, 15 May 2009
-
Hitlerhoff, 10 March 2009
-
A View of Concrete, 10 March 2009
-
The Revolution Starts Here, 3 March 2009
-
Oleanna, 28 February 2009
-
Silver Sircus, 28 February 2009
-
I Only Came To Use The Phone, 12 March 2008
-
Memmie Le Blanc, 15 February 2008
-
The Birthday Party, 3 May 2007
-
The Fantasticks, 12 July 2006
-
Absence and Presence, 2006
-
Boy Overboard, 2006
-
Chaplin's Eye, 2006
-
Dave Grant Man The Myth, 2006
-
James Campbell - Comedy 4 Kids, 2006
-
Marathon, 9 March 2005
-
4:48 Psychosis, 27 October 2004
-
Vernissage, 1 March 2004
-
Night Letters, 24 February 2004
-
Bust, November 2003
-
Starry Eyed, 1 October 2003
-
Drowning in My Ocean of You, 26 September 2003
-
Parallax Island, 20 May 2003
-
For Your Information, 14 March 2003
-
Head to Head, 13 March 2003
-
Eager To Breathe, 11 March 2003
-
The Return, 11 March 2003
-
The 3 Wise Kings, 30 November 2002
-
MegaDrag 2002, 29 November 2002
-
Way Dead Cool, 27 November 2002
-
My Life As A Dyke Too - The Shequel, 27 November 2002
-
Innabody, 23 November 2002
-
Oubliette, 23 November 2002
-
The Sickness of Becoming Great, 23 November 2002
-
Swallowing Geography, 21 November 2002
-
Lemon Twists and Hilarious Homos, 21 November 2002
-
Roulin Mouge, 19 November 2002
-
Family Assortment, 17 November 2002
-
Dial M for Marr, 16 November 2002
-
Deadly Vibes, 10 November 2002
-
Dreaming Out Loud, 9 November 2002
-
Love in a Cubicle, 9 November 2002
-
Miz Ima Starr is Born Free, 9 November 2002
-
First Time Out, 5 November 2002
-
The Anatomy Lesson of Doctor Ruysch, 3 September 2002
-
Despoiled Shore Medeamaterial Landscape with Argonauts, 20 June 2002
-
In the Blood, 8 May 2002
-
Edward II, 28 February 2002
-
The Return, 27 February 2002
-
Creeper, 6 September 2001
-
Headlong, 27 March 2001
-
Langs de Grote Weg, 14 March 2000
-
Ur/faust, 6 March 2000
-
Quartet, 2000
-
Natural Life, 24 February 1998
-
Features of Blown Youth, 28 November 1997
-
Future Tense: Mercedes / In the Solitude of the Cotton Fields, 23 May 1997
-
Trojan Women, 26 March 1997
-
The Magic Flute, 4 March 1996
-
A Farewell Benefit for Mr Emanuel Solomon, 20 April 1994
-
Richard III / Bachelors Buttons, 29 August 1850
-
The Charcoal Burner or The Dropping Well of Knaresborogh and Tow Gregories, 9 February 1842
-
The Nunnery. To conclude with Sarah the Jewess, or, The Dream of Fate., 18 November 1841
-
Sarah the Jewess, or, The Dream of Fate. To conclude with an original burletta entitled The Court of Old Fritz., 11 November 1841
-
The Court of Old Fritz, 8 November 1841
-
The Swiss Swains. To which will be added the farce of Forty & Fifty. To conclude with a laughable burletta called Frederick the Great, or, The Female Sentinel., 4 November 1841
-
The Printer's Devil, 1 November 1841
-
The Two Friends. The favourite song of What's a Woman Like? To conclude with a laughable burletta called Frederick the Great, or, The Female Sentinel. , 28 October 1841
-
A Roland for an Oliver. The Highland Fling. To conclude with the domestic drama of The Maid of Croissey, or, Theresa'a Vow, 21 October 1841
-
The Ringdoves. After which the popular farce called A Peculiar Position. To conclude with the popular sketch of The Actress of All Work, 14 October 1841
-
Two Shortcuts, 4 October 1841
-
Middle Temple, or, Which is My Son. To which will be added the laughable burletta called Tom Noddy's Secret, 27 September 1841
-
Catching an Heiress. After which, the laughable farce of A Peculiar Position. To conclude with the favorite farce of My Young Wife and My Old Umbrella, 19 August 1841
-
A Variety of Entertainments, under the patronage of the Free and Accepted Mason, of the South Australian Lodge of Friendship, no. 613., 16 August 1841
-
The Original, 14 August 1841
-
My Young Wife, and My Old Umbrella., 12 August 1841
-
Gustavus the Third, or, The Masked Ball. To conclude with the laughable farce of The Dancing Barber, 5 August 1841
-
The Curse of Mammon, 29 July 1841
-
At Home, Budget of Fun and Bachelors Torments, 15 July 1841
-
The Exile or The Deserts of Siberia, and The Carnival Ball, 28 June 1841
-
Henriette the Foresaken and Our Mary Anne, 24 June 1841
-
Richard III and The Widow's Victim, 14 June 1841
-
The Rent Day and The Happy Man, 5 June 1841
-
Don Juan, 20 May 1841
-
Nicholas Nickleby, 13 May 1841
-
For The Benefit of Mr J Lazar, 10 May 1841
-
Naval Engagements and The Youthful Queen, 8 May 1841
-
Rob Roy Macgregor and The Married Rake, 1 May 1841
-
The Youthful Queen and All For Love, 29 April 1841
-
All for Love and The Man About Town, 24 April 1841
-
Katherine and Petruchio, The Crown Prince and The Turned Head, 13 April 1841
-
Katherine and Petruchio and The Spoiled Child, 6 April 1841
-
Katherine and Petruchio, Where Shall we Dine? and The Married Rake, 3 April 1841
-
Tom Noddy's Secret, Where Shall I Dine? and the Place Hunter, 30 March 1841
-
Wreck Ashore and Catching an Heiress, 23 March 1841
-
The Jewess and The Place Hunter, 20 March 1841
-
The Jewess and The Married Rake, 16 March 1841
-
The Married Rake, The Married Bachelor, and The Larboard Fin, 11 March 1841
-
The Larboard Fin and Plot and Counter Plot, 6 March 1841
-
Plot and Counter Plot and Catching an Heiress, 4 March 1841
-
Naval Engagements, The Actress of All Work and The Married Bachelor , 27 February 1841
-
Michael Earl, The manic lover and The Brigand, 20 February 1841
-
Heir at Law and Charles the Second, 18 February 1841
-
Charles the Second and Court Favor, 9 February 1841
-
The Wreck Ashore or The Rovers Bride and Ask no Questions, 6 February 1841
-
The Tower of Nesle or The Chamber of Death and Lord Darnley of The King and the Freebooter, 30 January 1841
-
Therese or The Orphan of Geneva, One Hour or the Carnival Ball, 23 January 1841
-
His First Champagne. After which A naval Hornpipe by Mr Allen to with "Ask no Questions", 16 January 1841
-
Othello the Moor of Venice / Our Mary Anne, 11 January 1841
|
|
-
Unsung, 28 February 2021
-
The Executioners, 8 March 2018
-
The Storm, 2 March 2016
-
Weepie, 13 March 2012
-
A Comedy, 4 March 2011
-
Of the Causes of Wonderful Things, 2 March 2011
-
Hitlerhoff, 10 March 2009
-
A View of Concrete, 10 March 2009
-
Silver Sircus, 28 February 2009
-
I Only Came To Use The Phone, 12 March 2008
-
Memmie Le Blanc, 15 February 2008
-
Absence and Presence, 2006
-
Boy Overboard, 2006
-
Chaplin's Eye, 2006
-
Dave Grant Man The Myth, 2006
-
James Campbell - Comedy 4 Kids, 2006
-
Edward II, 28 February 2002
-
The Return, 27 February 2002
-
The 3 Wise Kings, 30 November 2002
-
MegaDrag 2002, 29 November 2002
-
Way Dead Cool, 27 November 2002
-
My Life As A Dyke Too - The Shequel, 27 November 2002
-
Innabody, 23 November 2002
-
Oubliette, 23 November 2002
-
Swallowing Geography, 21 November 2002
-
Lemon Twists and Hilarious Homos, 21 November 2002
-
Roulin Mouge, 19 November 2002
-
Family Assortment, 17 November 2002
-
Dial M for Marr, 16 November 2002
-
Deadly Vibes, 10 November 2002
-
Dreaming Out Loud, 9 November 2002
-
Love in a Cubicle, 9 November 2002
-
Miz Ima Starr is Born Free, 9 November 2002
-
First Time Out, 5 November 2002
-
Hans & Gret, 3 March 2023
-
Blindness, 23 February 2022
-
Aleppo - A Portrait of Absence, 11 March 2020
-
The Lighthouse, 25 February 2020
-
Baba Yaga, 27 February 2019
-
Gardens Speak, 4 March 2017
-
Fight Night, 13 March 2014
-
Kiss of the Chicken King, 1 March 2014
-
BigMouth, 27 February 2014
-
Murder, 6 March 2013
-
Doku Rai: You, Dead Man, I Don't Believe You, 28 February 2013
-
The Life and Death of King John, 25 February 2010
-
Vernissage, 1 March 2004
-
Night Letters, 24 February 2004
-
Ur/faust, 6 March 2000
-
Natural Life, 24 February 1998
-
Hans & Gret, 3 March 2023
-
A Simple Space, 30 September 2021
-
I Want to Touch You, 30 September 2021
-
The Lighthouse, 25 February 2020
-
Madeline Lee, 4 October 2019
-
Christina's World, 2 August 2019
-
Baba Yaga, 27 February 2019
-
Fight Night, 13 March 2014
-
Dust, 3 May 2013
-
Murder, 6 March 2013
-
Doku Rai: You, Dead Man, I Don't Believe You, 28 February 2013
-
Bust, November 2003
-
Drowning in My Ocean of You, 26 September 2003
-
Features of Blown Youth, 28 November 1997
|
|
Mr John Lazar
- Actor, Actor-manager, Administrator, Dancer, Singer
-
Richard III / Bachelors Buttons, 29 August 1850
-
The Charcoal Burner or The Dropping Well of Knaresborogh and Tow Gregories, 9 February 1842
-
The Nunnery. To conclude with Sarah the Jewess, or, The Dream of Fate., 18 November 1841
-
Sarah the Jewess, or, The Dream of Fate. To conclude with an original burletta entitled The Court of Old Fritz., 11 November 1841
-
The Court of Old Fritz, 8 November 1841
-
The Swiss Swains. To which will be added the farce of Forty & Fifty. To conclude with a laughable burletta called Frederick the Great, or, The Female Sentinel., 4 November 1841
-
The Two Friends. The favourite song of What's a Woman Like? To conclude with a laughable burletta called Frederick the Great, or, The Female Sentinel. , 28 October 1841
-
A Roland for an Oliver. The Highland Fling. To conclude with the domestic drama of The Maid of Croissey, or, Theresa'a Vow, 21 October 1841
-
The Ringdoves. After which the popular farce called A Peculiar Position. To conclude with the popular sketch of The Actress of All Work, 14 October 1841
-
Two Shortcuts, 4 October 1841
-
Middle Temple, or, Which is My Son. To which will be added the laughable burletta called Tom Noddy's Secret, 27 September 1841
-
Catching an Heiress. After which, the laughable farce of A Peculiar Position. To conclude with the favorite farce of My Young Wife and My Old Umbrella, 19 August 1841
-
The Original, 14 August 1841
-
My Young Wife, and My Old Umbrella., 12 August 1841
-
Gustavus the Third, or, The Masked Ball. To conclude with the laughable farce of The Dancing Barber, 5 August 1841
-
The Curse of Mammon, 29 July 1841
-
At Home, Budget of Fun and Bachelors Torments, 15 July 1841
-
The Exile or The Deserts of Siberia, and The Carnival Ball, 28 June 1841
-
Henriette the Foresaken and Our Mary Anne, 24 June 1841
-
Richard III and The Widow's Victim, 14 June 1841
-
The Rent Day and The Happy Man, 5 June 1841
-
Don Juan, 20 May 1841
-
Nicholas Nickleby, 13 May 1841
-
For The Benefit of Mr J Lazar, 10 May 1841
-
Naval Engagements and The Youthful Queen, 8 May 1841
-
The Youthful Queen and All For Love, 29 April 1841
-
All for Love and The Man About Town, 24 April 1841
-
Katherine and Petruchio, The Crown Prince and The Turned Head, 13 April 1841
-
Katherine and Petruchio and The Spoiled Child, 6 April 1841
-
Katherine and Petruchio, Where Shall we Dine? and The Married Rake, 3 April 1841
-
Tom Noddy's Secret, Where Shall I Dine? and the Place Hunter, 30 March 1841
-
Wreck Ashore and Catching an Heiress, 23 March 1841
-
The Jewess and The Place Hunter, 20 March 1841
-
The Jewess and The Married Rake, 16 March 1841
-
The Married Rake, The Married Bachelor, and The Larboard Fin, 11 March 1841
-
The Larboard Fin and Plot and Counter Plot, 6 March 1841
-
Plot and Counter Plot and Catching an Heiress, 4 March 1841
-
Naval Engagements, The Actress of All Work and The Married Bachelor , 27 February 1841
-
Heir at Law and Charles the Second, 18 February 1841
-
Charles the Second and Court Favor, 9 February 1841
-
The Wreck Ashore or The Rovers Bride and Ask no Questions, 6 February 1841
-
The Tower of Nesle or The Chamber of Death and Lord Darnley of The King and the Freebooter, 30 January 1841
-
Therese or The Orphan of Geneva, One Hour or the Carnival Ball, 23 January 1841
-
His First Champagne. After which A naval Hornpipe by Mr Allen to with "Ask no Questions", 16 January 1841
-
Othello the Moor of Venice / Our Mary Anne, 11 January 1841
Rachel Lazar
- Actor, Administrator, Dancer
-
Sarah the Jewess, or, The Dream of Fate. To conclude with an original burletta entitled The Court of Old Fritz., 11 November 1841
-
The Swiss Swains. To which will be added the farce of Forty & Fifty. To conclude with a laughable burletta called Frederick the Great, or, The Female Sentinel., 4 November 1841
-
A Roland for an Oliver. The Highland Fling. To conclude with the domestic drama of The Maid of Croissey, or, Theresa'a Vow, 21 October 1841
-
The Ringdoves. After which the popular farce called A Peculiar Position. To conclude with the popular sketch of The Actress of All Work, 14 October 1841
-
Two Shortcuts, 4 October 1841
-
Middle Temple, or, Which is My Son. To which will be added the laughable burletta called Tom Noddy's Secret, 27 September 1841
-
My Young Wife, and My Old Umbrella., 12 August 1841
-
The Curse of Mammon, 29 July 1841
-
The Exile or The Deserts of Siberia, and The Carnival Ball, 28 June 1841
-
Henriette the Foresaken and Our Mary Anne, 24 June 1841
-
The Rent Day and The Happy Man, 5 June 1841
-
Don Juan, 20 May 1841
-
Nicholas Nickleby, 13 May 1841
-
For The Benefit of Mr J Lazar, 10 May 1841
-
Rob Roy Macgregor and The Married Rake, 1 May 1841
-
The Jewess and The Married Rake, 16 March 1841
-
The Married Rake, The Married Bachelor, and The Larboard Fin, 11 March 1841
-
The Larboard Fin and Plot and Counter Plot, 6 March 1841
-
Naval Engagements, The Actress of All Work and The Married Bachelor , 27 February 1841
-
Michael Earl, The manic lover and The Brigand, 20 February 1841
-
Charles the Second and Court Favor, 9 February 1841
-
The Wreck Ashore or The Rovers Bride and Ask no Questions, 6 February 1841
-
The Tower of Nesle or The Chamber of Death and Lord Darnley of The King and the Freebooter, 30 January 1841
-
Therese or The Orphan of Geneva, One Hour or the Carnival Ball, 23 January 1841
-
His First Champagne. After which A naval Hornpipe by Mr Allen to with "Ask no Questions", 16 January 1841
-
The Two Friends. The favourite song of What's a Woman Like? To conclude with a laughable burletta called Frederick the Great, or, The Female Sentinel. , 28 October 1841
-
The Ringdoves. After which the popular farce called A Peculiar Position. To conclude with the popular sketch of The Actress of All Work, 14 October 1841
-
Middle Temple, or, Which is My Son. To which will be added the laughable burletta called Tom Noddy's Secret, 27 September 1841
-
The Curse of Mammon, 29 July 1841
-
The Exile or The Deserts of Siberia, and The Carnival Ball, 28 June 1841
-
Nicholas Nickleby, 13 May 1841
-
All for Love and The Man About Town, 24 April 1841
-
The Jewess and The Married Rake, 16 March 1841
-
Therese or The Orphan of Geneva, One Hour or the Carnival Ball, 23 January 1841
-
His First Champagne. After which A naval Hornpipe by Mr Allen to with "Ask no Questions", 16 January 1841
-
Othello the Moor of Venice / Our Mary Anne, 11 January 1841
-
The Curse of Mammon, 29 July 1841
-
The Exile or The Deserts of Siberia, and The Carnival Ball, 28 June 1841
-
Richard III and The Widow's Victim, 14 June 1841
-
Nicholas Nickleby, 13 May 1841
-
All for Love and The Man About Town, 24 April 1841
-
Tom Noddy's Secret, Where Shall I Dine? and the Place Hunter, 30 March 1841
-
The Jewess and The Married Rake, 16 March 1841
-
The Tower of Nesle or The Chamber of Death and Lord Darnley of The King and the Freebooter, 30 January 1841
-
His First Champagne. After which A naval Hornpipe by Mr Allen to with "Ask no Questions", 16 January 1841
-
Othello the Moor of Venice / Our Mary Anne, 11 January 1841
Geoff Cobham
- Designer, Director, Lighting Designer, Set Designer
-
I Want to Touch You, 30 September 2021
-
The Lighthouse, 25 February 2020
-
Land and Sea, 12 May 2012
-
4:48 Psychosis, 27 October 2004
-
Vernissage, 1 March 2004
-
Night Letters, 24 February 2004
-
Starry Eyed, 1 October 2003
-
In the Blood, 8 May 2002
-
Quartet, 2000
-
Future Tense: Mercedes / In the Solitude of the Cotton Fields, 23 May 1997
-
The Nunnery. To conclude with Sarah the Jewess, or, The Dream of Fate., 18 November 1841
-
Catching an Heiress. After which, the laughable farce of A Peculiar Position. To conclude with the favorite farce of My Young Wife and My Old Umbrella, 19 August 1841
-
The Original, 14 August 1841
-
Gustavus the Third, or, The Masked Ball. To conclude with the laughable farce of The Dancing Barber, 5 August 1841
-
The Exile or The Deserts of Siberia, and The Carnival Ball, 28 June 1841
-
Don Juan, 20 May 1841
-
Nicholas Nickleby, 13 May 1841
-
The Two Friends. The favourite song of What's a Woman Like? To conclude with a laughable burletta called Frederick the Great, or, The Female Sentinel. , 28 October 1841
-
The Ringdoves. After which the popular farce called A Peculiar Position. To conclude with the popular sketch of The Actress of All Work, 14 October 1841
-
Middle Temple, or, Which is My Son. To which will be added the laughable burletta called Tom Noddy's Secret, 27 September 1841
-
The Exile or The Deserts of Siberia, and The Carnival Ball, 28 June 1841
-
Don Juan, 20 May 1841
-
All for Love and The Man About Town, 24 April 1841
-
The Jewess and The Married Rake, 16 March 1841
Mr Allen
- Actor, Dancer, Properties Master
Mr Allan
- Actor, Dancer, Musician
Robert (Bob) Cousins
- Designer, Set and/or Property Maker, Set Designer
Maude Davey
- Director, Playwright, Writer
Sam Haren
- Creator, Director, Director, Assistant, Dramaturg/e, Set Designer
Jason Sweeney
- Creator, Performer, Sound Artist, Sound Designer
Zoe Barry
- Composer, Creator, Musical Advisor, Musician
Daisy Brown
- Director, Director, Assistant, Dramaturg/e
Quentin Grant
- Composer, Musical Advisor, Musician
David Heinrich
- Actor, Composer, Performer, Sound Designer
Mr Opie
- Actor, Scenic Artist
Wendy Todd
- Designer, Set and/or Property Maker
Ingrid Voorendt
- Choreographer, Director, Director, Assistant
Jascha Boyce
- Circus Style Performer, Director, Director, Associate
Ben Flett
- Lighting Designer, Production Manager, Sound Designer
Richard Kelly
- Actor, Designer, Producer
Chris Petridis
- Creator, Technical Director
Jo Zealand
- Choreographer, Consultant
Sam W Aygood
- Sound Operator / Engineer
Liz B
- Drag Artist
Bergerac
- Sound Composer
Lachlan Binns
- Circus Style Performer, Director
Blade
- Drag Artist
Paulo Castro
- Production Coordinator
Joanne Curry
- Circus Style Performer
Taylor Dawson
- Backstage Manager, Assistant
Sophie De Somere
- Costume Designer, Set Designer
Nick Dubberley
- Lighting Operator / Technician
Nathan Evers
- Sound Operator / Engineer
Louise Fox
- Director, Assistant
Peter Greed
- Sound Operator / Engineer
John Haddock
- Composer, Librettist, Musician, Pianist
Nick Ilton
- Stage Manager, Assistant
Kerry Ireland
- Stage Manager, Assistant
Nescha Jelk
- Director, Supervisor
George Karlis
- Musician, Musician, Percussionist
Letho Kostoglou
- Composer, Musical Director, Musician
Andrew Lake
- Lighting Designer, Set Designer
Max Lambert
- Composer, Sound Designer
Tyrone Landau
- Actor, Composer, Musical Director
Owen McCarthy
- Lighting Designer, Video Designer
Oscar McLennan
- Composer, Performer, Visual Director, Writer
Nicol Morrow
- Stage Manager, Assistant
Peter Nelson
- Composer, Sound Designer
Mark Oates
- Director, Assistant
Erica Peroni
- Costume Designer, Singer
Jacob Randell
- Circus Style Performer, Director
Raven
- Drag Artist
Noelia Ruiz
- Design Consultant, Lighting Designer, Production Manager
Martin Schreiber
- Circus Style Performer, Director
Selena
- Drag Artist
Gina Seretis
- Properties Master, Translator
Ben Shaw
- Lighting Designer
Lilith Tremmery
- Lighting Designer, Lighting Operator / Technician, Set Designer, Technician
Jeroen Wuyts
- Lighting Designer, Sound Designer
Xanthe
- Drag Artist
|
Resources |
-
Advertisement:  Advertising, Adelaide Times (SA : 1848 - 1858), 29 August 1850, 2
-
Advertisement:  Queen's Theatre, The South Australian Register, National Library of Australia, 2 January 1841, 2
-
Advertisement:  Queen's Theatre, The South Australian Register, National Library of Australia, 26 June 1841, 2
-
Article:  Concert a la Musvrd, Adelaide Independent and Cabinet of Amusement (SA : 1841), National Library of Australia, 11 November 1841, 3
-
QUEEN'S THEATRE.— Mr Lazar's Benefit takes place on Monday next, and need we say how much this gentleman deserves a bumper. His industry and perseverance merit the greatest praise, and we only regret that so much talent should have received no more patronage than has been extended towards his efforts since his connection with theatricals in this colony. We however trust his benefit on Monday next will show that the public are not unmindful of him, and will give him what he so richly deserves — a crowded house. The entertainments are well selected, and will, we are certain, give universal satisfaction
Article:  Meloncholy Accident, The South Australian Register, National Library of Australia, 15 January 1842, 3
-
Article:  Mr Lazar "At Home", Adelaide Chronicle and South Australian Literary Record, National Library of Australia, 14 July 1841, 2
-
This fine building, finished by Mr E. Solomon at an expense of nearly £10,000, was opened on Monday last, by an effective and well-organised company under the experienced management of Mr Lazar—well known and much respected as the conductor of the theatrical amusements of Sydney. the theatre is neatly fitted up, and admirably arranged for seeing and hearing. The decoartions are designed and executed by Mr Opie, and reflect much credit on his skill as an artist. We did not reach the theatre until nearly the close of the tragedy (Othello), and can therefore venture to express no opinion on the particular merits of the actors—although we presume it would be in accordance with that of the audience, which was most favorable. Miss Lazar's dance was exceedingly graceful, and met a deserved and [?] encore. This young lady would be an acquisition to any theatre, as, in adiditon to her talent in the ballet, her acting in the after piece, Mary Anne, a farce of Buckstone's, was excellent. She was well-supported by Mr Buckingham, and by the other actors. The house was crowded in every part.
Article:  No Title, The South Australian Register, National Library of Australia, 16 January 1841, 2
-
John Allan, of theatrical celebrity, pleaded not guilty to an assault upon John Davis, of the Sydney Hotel. It appeared in evidence, that on the day of the grand meetingl at the theatre, while Mr. Worthy Worthington George Nichols was en- lightening an audience of the British public with the sublime and beautiful, a farce of an equally amusing, though not quite so harmless a description, was taking place in the back- ground. Allan, the defendant, the man what perform the savage'ruffian, and ferocious mur- derer at the Queen's Theatre was giving a lesson in private theatricals to the complaitant, the said John Davis, who was standing in the rear oï the platform. Allan commenced by first informing him, that his rank not being that of a gentleman, he was not entitled to be on the stage. Davis not thoroughly under- standing the argument, seeing so many of the unwashed around him, replied he should not move off. Allan, who, by the bye, has studied the pugilistic art in the polite circles ot Europe, then got hold of Davis round the neck, pin- ning him with his left, and administering divers blows with the right, on the cranium, or frontis, and various other osées of the defendant's person. This was the assault and grievance complained of, and for which com- plainant sought redress of the court. The Magistrates then ordered the defendant to be bound over in his own recognisance to keep the peace for six months, and defray thè costs of the present action.-Communicated.
Article:  Performing at the Queen's Theatre, Southern Australian, National Library of Australia, 18 February 1842, 4
-
Article:  Queen's Theatre , Adelaide Chronicle and South Australian Literary Record, National Library of Australia, 23 June 1841, 3
-
We perceive this Theatre opens on Monday next, and are happy to see His Excellency give his patronage to the Drama of South Australia. Mr Lazar has conducted the Queen's Theatre upon a level with many of the Theatres in London, and the Governor's liberality in supporting the humble [?] of thespis deserves the highest praise. Mr Lazar's perse- verance and talent have made him a universal favourite, and we are certain his efforts to merit the high patronage bestowed upon him will be exerted to the utmost. A theatre is an instruct- tive source of entertainment, for while it cheers a dull and monotonous hour, it frequently conveys a wholesome lesson to youth, by which their future morals might be regulated, and when the drama is conducted upon a respectable system, the most fastidious need not blush to partake of the amuse- ment it affords. As an example, we find Her Majesty widely extending her patronage to the drama, under whose gracious auspices it cannot fail of success. Mr Lazar has selected as an opening piece a pictorial drama entitled The Curse of Mammon, in which Hogarth's celebrated Marriage a-la-mode will be illustrated in living characters. We understand the scenery and dresses are of the most unique description, and the play itself one of the most successful that has been recently produced in London. for our- selves, we wish Mr Lazar all the good forture his spirited undertaking deserves, and we hope the public will not be backward in patronising the new lessee. A Dance by Miss Lazar, and a laughable Farce called The Dancing Barber, con- clude the first night's performance, [Communi- cated.]
Article:  Queen's Theatre , The South Australian Register, National Library of Australia, 24 July 1841, 3
-
The season of this theatre is now drawing towards a close, and the various artists connected with the establishment seek to repay their exertions by the usual means of benefits. Mr Lazar, the re- spected manager, takes the first on Monday next; and we must say, his indefatigable perseverance in the cause of the drama in Adelaide has been exerted to no common extent. Exclusive of the difficulty of catering for public amusement, we have noticed him in two or three pieces each night, always at his post, and provided with a fund of good humour. As an actor, too much praise cannot be bestowed on him; as a manager, the good taste of his selections and the creditable arrangements of the theatre and the business of the stage proves him to be a clover tactician. The entertainments selected for Monday next, exclusive of Mr L.'s own popularity, would attract a crowded house. Mr Edwards and a gentleman amateur, we observe, are to render their powerful vocal assistance. We trust the public will not be slow in testifying in a substantial manner its approval of the conduct of Mr Lazar. The box list, we hear, already exhibits a promising ap- pearance.
Article:  Queen's Theatre - Benefits of Mr Lazar, The South Australian Register, National Library of Australia, 8 May 1841, 3
-
By our theatrical advertisement of to-day, we perceive this deserving young lady takes her benefit on Monday next. The gentlemen amateurs who have already appeared twice before the public have very handsomely come forward to lend their valuable services upon this occasion. The bill of fare promises a splendid night's entertainment, and we anticipate a bumper house. Miss Lazar is an industrious and promising actress, and, as a danseuse, she requires no comment from us, as the public generally have testified their approba- tion of her talent, in that department, upon every occasion. Nell Gwynne is an amusing play, and we have no doubt, from the cast, that it will be admirably played. Mr Lazar's Largo at Factotum is a treat at all times. Billy Taylor is a laugh- able affair, and well adapted to Mr Lazar's rich comic humour. Upon the whole, the selection is decidedly one of the best of the season, Com- municated.
Article:  Queen's Theatre - Miss Lazar's Benefit, The South Australian Register, National Library of Australia, 5 June 1841
-
THE THEATRE was re-opened on Monday for one evening. The house was tolerably well filled, and the acting good. We believe it is the intention of the proprietor to open it again once or twice a week.
Article:  Queen's Theatre, Adelaide Chronicle and South Australian Literary Record, National Library of Australia, 29 September 1841, 3
-
QUEENS THEATRE.— We preceive this Theatre has again opened, and in the precertaiuly dull times it is certainly a relief to the monotony of the town. On Monday last three excellent Farces were produced in each of which M. Lazar kept the house in continued laughter ; the Groves of Blar- rney introduced between the peices, is a rich treat, and we trust Mr. L. will often favor us with it. The Company selected is very limited, but quite sufficient for the style of pieces calculated to amuse an Audience. the expenses are now considerably curtailed and we hope, the Theatre will now pay. The house is splendidly lighted and has a very animated appearance, and we trust the Public will appreciate the very spirited zeal of the Proprietors.
Article:  Queen's Theatre, Adelaide Independent and Cabinet of Amusement (SA : 1841), National Library of Australia, 7 October 1841, 2
-
We perceive by our ad- vertisement of to-day that this Theatre opens for one night prior to the regular season commen- cing on Thursday next, when Mr Lazar under- takes the arduous task of an At Home after the manner of Matthews. We have every opinion of Mr Lazar's versatility of talent, and therefore an- ticipate a rich treat. This is something new in this part of the world, and we have no doubt of its drawing a crowded house. The programme of the bill is very cleverly concocted and highly amusing. The concluding part appears to be a complete farce in itself, in which Mr Lazar per- sonates all the characters. We wish him every success. We regret to hear that Mrs Cameron does not join the corps dramatique of the Queen's Theatre next season. She is an excellent actress, and we are surprised that, in the present times, she and Mr Cameron should have refused what we take to be a liberal salary of four or five pounds a week. We sincerely trust Mrs Cameron will think better of it, and not deprive the public of the pleasure of seeing her in re- spectible company. It is quite clear that the attempt to re-open what has hitherto been but a den of filth and debauchery, the Victoria Theatre, will neither add to their wealth or their respecta- bility. Mr Lazar, who has taken the Theatre for the ensuing season, is making considerable alterations and improvements both in the stage and audience parts, and we hope that patronage which has been so anxiously sought for will now be extended to this splendid establishment. We understand the whole of the company have very generously consented to take smaller salaries than they received last season, which liberality the Manager will, no doubt, repay, in the event of the speculation turning out advantageous.
Article:  Queen's Theatre, The South Australian Register, National Library of Australia, 10 July 1841, 3
-
Mr Lazar's Benefit takes place on Monday next, and need we say how much this gentleman deserves a bumper. His industry and perseverance merit the greatest praise, and we only regret that so much talent should have received no more patronage than has been exetended towards his efforts since his connexion with theatricals in this colony. We however trust his benefit on Monday next will show that the public are not unmindful of him, and will give him what he so richly deserves — a crowded house. The entertainments are well selected, and will, we are certain, give universal satisfaction.— [Communicated.]
Article:  Queen's Theatre, The South Australian Register, National Library of Australia, 15 January 1842, 3
-
We are happy to see the houses so rapidly improving at this very elegant and commodious place of amusement, and we have no doubt the proprietors will ultimately reap the harvest they so richly merit. Novelty seems the standing order, and each night the public are treated with some interesting drama, a dance from our Australian Taglioni, and a lively farce. The Tower of Nerle was splendidly got up on Monday last, and attracted a very fashion- able audience; the principal character was ad- mirably sustained by Mr Lazar, who was well supported by Messrs Cameron, Arabin, and Mrs Cameron. One Hour, or the Carnival Ball, has been also produced in a superior style—the ball room scene at once realizing all the splendour of a Venetian carnival, the stage being a complete body of illumination. We understand Captain Sturt, and several other influential families in- tend patronising the Theatre on Monday next, and we have no doubt the entertainments of the evening will be well selected by the indefatigable manager, Mr Lazar. We must not forget, how- ever, to mention the orderly manner in which the Theatre is conducted, reflecting the highest credit on those concerned—we have visited the principal theatres in England, and never witnes- sed a greater degree of order preserved than in the Queen's Theatre.—[Communicated.]
Article:  Queen's Theatre, The South Australian Register, National Library of Australia, 30 January 1841, 3
-
Theatre in Gilles Arcade, Adelaide, opened 11 January 1841, seating c.1000. Closed 28 November 1842. Restored, enlarged and reopened as Royal Victoria Theatre 23 December 1850. Closed 10 November 1851. Reopened 1859. Closed 1868. Proclaimed heritage site 15 April 1994.
The remnants of the Queen’s Theatre, the first building to house continuous theatre in Adelaide, have yielded more architectural elements and artefacts than any other mid-19th century theatre-tavern site in Australia. The theatre held a pit for 700 persons, a dress circle of boxes and an upper circle. Its layout was advanced for the time, with the pit penetrating beneath the dress circle, in a similar way to the then recent Royal Victoria Theatre in Sydney. The brothers Vaiben and Emanuel Solomon spent £10 000 in 1841 to build the Queen’s Theatre, the Shakespeare Tavern – which opened into the auditorium – and five large houses. The theatre was run in a respectable manner by John Lazar but he was forced to close it in November 1842, during an economic depression in South Australia. In 1843 the theatre was converted to a courthouse. When George Coppin arrived in Adelaide in 1846 he found no theatre available, so he arranged with Emanuel Solomon to convert a billiards saloon adjacent to the Shakespeare Tavern into a temporary two-level theatre to house some 900 persons. This New Queen’s Theatre operated until the end of 1850. Edward Snell visited it on 21 November 1850 and noted in his diary that it was ‘a wretched place, only pit and boxes in it and the stage illuminated by 5 foot lights and 2 side lights only. The actors were a set of dull dogs, the scenery was damnable, and the audience a mixture of prostitutes and pickpockets.’
While performing at the New Queen’s Theatre, Coppin and Lazar restored, enlarged and improved the old theatre, after the Supreme Court moved out. It reopened on 23 December 1850 as the Royal Victoria Theatre. It had a new, more imposing front, with applied columns, entablature and pediment, constructed almost 4.2 metres in front of the central portion of the older Georgian-style façade. Architectural fragments of the original Queen’s Theatre still exist – window openings of the first façade and structural timber members cut off at the wall surface, which indicate the dress-circle and gallery levels. Exits from the dress circle to the saloon and tavern bar respectively are discernible. In addition, excavations in 1989-90 revealed walls of the Queen’s Theatre stage and dressing room, the adjoining tavern and the stage and auditorium of the New Queen’s Theatre. Also found were two bases for posts that supported the dress circle and the gallery of the Queen’s, and some 200 artefacts related to the theatre and the tavern. Excavation of the dressing room, stage and orchestra pit revealed grease paint, sequins, military buttons, a Tudor jester’s shoe, candlestick holders, clay pipes, glass bottles and stoneware bottles and shards of crockery.
A plan of the Queen’s Theatre before it was converted to a courthouse shows the auditorium as 16.2 metres long, possibly including the orchestra pit, the stage as 9.1 metres deep, and the whole as 9.8 metres wide. It shows the pit and gallery entrances from Weymouth Street to the front of the auditorium, with rooms behind and along one side of the stage and the Shakespeare tavern along the other side. The press reported that up to 400 persons could pack into the gallery, making the total capacity about 1200.
The gold rush in Victoria in 1851 denuded Adelaide of men and whole families. Deprived of an audience, Coppin became bankrupt and the Royal Victoria Theatre closed in November. It was occasionally used by touring companies until Alex Henderson reopened it permanently in 1859 after minor alterations. It was closed in 1868, just before the new Theatre Royal opened in Hindley Street. The old theatre became successively an extension to the tavern, premises for the City Mission and a horse bazaar. Buyers sat in the dress circle and gallery to study horses paraded in the pit which was paved in bricks. In 1900 the circle and gallery and above-ground stage walls were removed, leaving the building as it is today. The South Australian government has undertaken to preserve it as a state and national heritage item.
Article:  Ross Thorne, Queen's Theatre, Companion To Theatre In Australia, 1995, 471-472
-
Article:  Ross Thorne, Theatre buildings as one indicator of the social history of Australia., Architecture Australia, 68, 4, September 1979
-
Article:  Sam Kelton, Digging Deep for Signs of the Times, Sunday Mail, 2 April 2017, 68-69
-
Article:  The Drama, Adelaide Independent and Cabinet of Amusement (SA : 1841), National Library of Australia, 14 October 1841, 2
-
THIS theatre was opened on Monday evening; The play was Othello. Previous to the commencement of the piece the national anthem was sung by the whole of the company, at the con- clusion of which Mr Arabin, of the Sydney theatre, stepped forward and delivered the fol lowing opening address:— Ladies and Gentlemen—This little box To-night an adventurer unlocks; Nor opes it vainly—for this light presents A graceful exhibition of contents. SOLOMON said, " Urge to our friends my plea"— " I Urge !" said I-"bless you, they'll laugh at me; Yet, if you wish it, be my efforts tried, Your cause my spur—their service all my pride." The bow of gratitude before you made— Having this smiling generous range surveyed— Care has been his this labor to complete, Which makes magnificence and comfort meet— Anxious that multitudes may sit at ease, And scantier numbers in no desert freeze— That ample space may mark the liberal plan, But never strain the eyes or ears of man. Look round and judge. His efforts are all waste Unless you stamp them as a work of taste. He pleads for favor, only if his due, He pleads for justice, and he pleads to you [applause]. So much for visual sense.—What follows next Is chiefly on the histrionic text— And our adventurer has toiled to store His list of favorites with some favorites more. The universal cry is--- Something new; And to obey this call we trust to-night Some pleasing novelties may greet your right [applause]. New is the house—these boards too—this & certain— - New are the dresses—new the scenes and curtain— New also are our hopes, in this new cause, That we may meet and merit your applause— Rich the repast, and may we trust ensure The custom of the scenic epicure. "What our pretence ? What all the world pursues— To please for praise—for profit to amuse. I don't despair—your looks imply no danger, And John Bull ever patronised the stranger [applause]. E'en I, although amongst the last and least, May pass, perhaps, as garnish to the feast. We hope to please, &ad as we're dull or clever You patronise or damn the same as ever! And tee, who long tost on dramatic seas, The sport, alas! of many a shifting breeze. Have still contrived our shattered bark to steer, Now furl our sails and drop our anchor here, Happy indeed if, all our labors past, A friendly harbour we have found at last [applause].
The theatre was well filled in every part—the dress circle particularly was crowded with the 'beauty and fashion' of Adelaide. Hie house is very comfortably arranged and elegantly fitted up, the decorations altogether reflecting great credit on the abilities and taste of the artist—Mr Opie we believe. It would at present be premature to speak of the general merits or demerits of the company, or of any particular member of it, this being the first opportunity we have had of seeing them perform. Two or three of them only have we seen before—the remainder are entire strangers. Mr Lazar's Othello was upon the whole good. At times his utterance was too rapid, and consequently rather indistinct; and once or twice he gave more scope to his voice than was necessary; but taking the part as a whole, it was very creditably gone throngh, and drew from the audience repeated expressions of applause. Mr Arabin, as logo, decidedly sustained his character better than any one on the stage; lie indeed played the plausible and Wily villain to the life. Mr Allan, who played Roderigo, appeared to be quite out of his line, and endeavoured to amuse the audience at the expence of the tragedy. In the afterpiece he seemed more in bis element Mrs Cameron was well received by the audience, and promises to take the lead among the female part of the company. Mrs Arabin too, we.doubt not is a very useful actress, and seems almost equally at home in comedy and tragedy. We must not omit to mention Miss Lazar's dancing, which no- one present could help admiring. Of the other performers we cannot' speak till we" bave fartber opportunities of seeing them. Mr Solomon-has certainly shown great public spirit in erecting such a building as the Queen's Theatre—a building which equals in every respect, most of the English provincial and second- rate London Theatres—and we trust he will not be a loser by his speculation
Article:  The Queen's Theatre, Adelaide Chronicle and South Australian Literary Record, National Library of Australia, 13 January 1841, 3
-
Article:  The Queen's Theatre, Southern Australian, National Library of Australia, 12 January 1841, 1
-
Article:  The Queen's Theatre, Southern Australian, National Library of Australia, 9 September 1842, 2
-
The members of the Masonic Craft patronised the Theatre on Tuesday evening last, for the benefit of the Infirmary; the whole of the proceeds over and above the expences going to that institution, which accordingly drew a very full house. The pieces produced were Shakespere's Taming of the Shrew, the Crown Prince, and The Turned Head. We have not space to notice the per- formers particularly, but the universal ap- plause sufficiently testified the satisfaction of the audience.
Article:  The Queen's Theatre, The South Australian Register, National Library of Australia, 17 April 1841, 3
-
On Thursday evening the second amateur performance took place to a respectable audience. The dress circle was crowded. The comedy or farce of the Heir at Law, followed by the Merry Monarch, constituted the entertainments of the evening. It would be impossible to criticise minutely the acting of the different gentlemen who have so good-humouredly taken so much pains and gone to such expense to amuse the public. But we may safely say, that batling those unavoidable defects which only "stage practice" can remove, their preformances were creditable, and in many scenes effective. We are glad to notice an improvement in the orchestral department. A portion of the overture to Zamna, in particular, was played with brilliancy and spirit. It would be desirable, however, that some more moderation should be observed in the accompani- ments. Mr Charles Campbell's amusing song was actually drowned by the noisy fiddling. The fol- lowing Prologue, written by Mr Mann for the occasion, was spoken by Mr Hamilton:— In good Queen Ross's days, as legents tell, England from every nation bore the bell. Sage in her councils, foremost in the fight, The haughty Spaniard quailed before her might O'er the Pacific's wave of liquid gold. Full on the breeze the red cross banner roll'd; And where the storm tost billows fret, and foam On Albion's cliffs, her navies found a home. Council and battle past, in hall and bower} Noble and peasant hailed the festive hour,} And iron manhood bent to woman's power:} Valour and beauty graced the gorgeous scene, And lent a glory to the Tudor Queen. 'Twas tehn the drama rose—and Shakspere's name Hallowed the age with an immortal's fame. Each passion language found, and humorous thought, And sparkling wit, their ready tribute brought With sceptre'd pomp the tragic muse swept by. And mirth and laughter crown'd our comedy. That age has past—but still its works remain To grace the triumphs of Victoria's reign. Our ships and sailors still are hearts of oak— Still the vexed ocean bears Britannia's yoke. Still are our soldiers foremost in the war } Witness Barrossa witness Trafalgar } Our Nelson's glorious death, and Douro's ducal star. } Has beauty lost its power? Nay, sceptic, gaze, If gaze thou can'st, on yonder living blaze. Be like the eagle, face that sunny ray Or with the Persian, bend and own its sway. No sceptics we dear woman's power we own, And willing captives bend before her throne; Suppliants—but suppliants for a just applause Suppliants for favor in the drama's cause. That cause is yours—by him whose [?] Pierced to the inmost depths of [woman?] And in each character his pencil drew, } Still kept to woman and to nature true. } By Shakespere's honor'd manees, we call on you } And to your triumphs, still one triumph more, And rear the Drama on Australia's shore.
Article:  The Queen's Theatre, The South Australian Register, National Library of Australia, 20 February 1841, 3
-
Article:  The Queen's Theatre, The South Australian Register, National Library of Australia, 9 January 1841, 3
-
This Theatre opens on Monday evening with every prospect of suc-cess. The boxes, we understand, have been nearly all taken, and it seems determined to give the spirited proprietor a fair opportunity of realizing his intention of making the Theatre and its entertainments such as the respectable classes of Adelaide may resort to with propriety.
Article:  The Queen's Theatre, The South Australian Register, National Library of Australia, 9 January 1841, 3
-
WE should be wanting in our duty to Mr. Solomon, were we not thus publicly to compliment him, upon his spirit of enterprise, and upon the taste he has displayed, in planning, arranging, and fitting up the above very creditable erection, but, without entering into an expression of opinion as to what has been termed the legiti- mate drama, he must bear with us, when we avow our conviction, that neither the resources of Adelaide, nor the present public taste of its inhabi- tants, will justify him in devoting this building to the purposes of a theatre, unless he is prepared to sustain a heavy pecuniary loss. Of course, we naturally feel a deli- cacy in interfering with private enter- prise, through the medium of the pub- lic press, nor should we now attempt it, but from the conviction that we are uttering the sentiments of a large body of the public, and with the hope of pointing out a way in which Mr. Solomon's speculation may be made a source of sure and extensive commer- cial profit. At present, it is well known, that no Assembly Room, no Concert Room, no public Exchange, no Town Hall, no place suitable for the meetings of the Chamber of Com- merce, and no place adequate to the wants of the Mechanics' Institute, and other bodies, for their public purposes, exists in Adelaide, and that the want of such a place is beginning to be deeply and seriously felt. To what purpose, then, could the Queen's Thea- tre be appropriated? And from what other source could Mr. Solomon hope to realise so large and so certain an amount of profit? The theatres at present existing in Adelaide are known in every respect to have turned out complete failures, nor are we able to withhold our conviction, that the same fate will befal the Queen's Theatre, should the experiment be ultimately and finally determined upon. This, in our opinion, is neither to be traced to the want of respectability on the part of the performers at the other theatres, nor to the want of public spirit on the part of the inhabitants of Adelaide, but to the simple fact, that the sympathies of by far the largest portion of our fellow citizens flow in quite an oppo- site direction. Take the population of Adelaide at six thousand, for instance, or even at somewhat mote than that number. Out of these we will venture to affirm, that not more than one half are theatre-going people ; and even of this latter proportion, it may fairly be presumed, that the majority will prove but very occasional attendants upon the drama. The character of our population, and the objects with which parties have come hither, justify us in such an assumption, without any sup- posed personal knowledge of the par- ties of whom we write. Under these circumstances - so much at variance with those existing at home in towns of equal dimensions - and where the failure of the drama to interest the public has been incontestibly proved - how is Mr. Solomon to realise from theatrical amusements, such an amount as will pay a fair and equitable interest upon his very large outlay? Commer- cially speaking, nothing, in our opinion, would be more detrimental to the interests of Mr. Solomon, and we sin- cerely hope, therefore, that he will be led to abandon his original intention. We have thrown these remarks some- what hurriedly together, it being foreign to our present purpose, either to discuss the moral bearings of the question, or to enter into any details as to the best manner in which our suggestions can be carried out ; but the question is now fairly before the public, and by them, we hope, it will speedily betaken up. It would not, however, be considered presumptuous, perhaps, to hint at the probability, that a rental of from £50 to £150 per annum might he realised for several of the purposes stated above, besides such sources of profit as might arise from its occasional occupancy for more evanescent purposes. But as we shall probably return to the subject, we leave it now in the hands of the proprietor and the public.
Article:  The Queen's Theatre., Southern Australian, 29 December 1840, 3
-
Article:  The Theatre, Adelaide Chronicle and South Australian Literary Record, National Library of Australia, 10 March 1841, 3
-
THE THEATRE.—This place of amusement, "we are glad to see, still continues to draw tolerable, houses, though frequently not so good as we would wish to see. Mr Lazar continues. as indefatigable as ever in catering for the public entertainment. The pieces produced are generally of a light and amusing nature, which give more satisfaction than if heavy dramas were introduced. We trust soon to see better times, when Mr Lazar may expect his visitors to become more numerous.
Article:  The Theatre, Adelaide Chronicle and South Australian Literary Record, National Library of Australia, 10 November 1841, 3
-
Article:  The Theatre, Adelaide Chronicle and South Australian Literary Record, National Library of Australia, 24 February 1841, 3
-
We have scarcely vain glory sufficient to impress ourselves with the idea that our remarks last week have occasioned a better attendance at the Theatre than before; certain it is, however, that the last three nigbts have presented better filled houses tban for some previous. We are glad to note the improvement, and shall be pleased to see a still better attendance.
Article:  The Theatre, Adelaide Chronicle and South Australian Literary Record, National Library of Australia, 3 March 1841, 3
-
Article:  The Theatre, Southern Australian, National Library of Australia, 5 February 1841, 3
-
Article:  The Theatre, The South Australian Register, National Library of Australia, 12 June 1841, 3
-
THE THEATRE.—The general dulness of the town seems to have operated on our play going folks during the present week, the Theatre not being so well attended as usual; but we are happy to see it has not dampen the ardour of the manager—a succession of new pieces (or attrac- tive ones) having been produced, and the performers strive by every means to please. An amusing drama under the title of the Crown Prince was performed on Monday last, which was well received. Mr Lazar's personification of the Watch- man's son was admirable—his whimsical em- barrassment on being taken for the Crown Prince excited bursts of laughter; as did the exchange of dress from the Prince to the Watchman. There are some witty allusions in reference to the ministry, which told remarkable well, and the audience appeared to join in the [?] the little piece displayed. The [?] [?] of the Irish Trator followed, in which Mr J. Solomon sustained the part of Terry O'Rourke with great
Article:  The Theatre, The South Australian Register, National Library of Australia, 27 March 1841, 3
-
By our advertising columns of to-day we find Mr Lazar, the enterprising manager of the Queen's Theatre, takes his Benefit on Monday next. Those who have watched the progress of the season, will admit that no pains have been spared on his part to secure for the proprietors good houses, and, for the public, rational and amusing entertainments. His exertions, both as actor and manager, deserve the highest praise, and we trust will be duly appreciated on his approaching benefit ; for our own part we have no doubt of seeing the most crowded house of the season. Mr Edwards (whose vocal talent is well-known and justly admired) gives his valuable services on the occasion ; also a gentleman amateur, of whom report speaks in very high terms; and the Bill of Fare throughout promises one of the most at- tractive evenings of the season. We can only repeat our wish to see a full house.
Article:  The Theatre. - Mr Lazar's Benefit, Adelaide Chronicle and South Australian Literary Record, National Library of Australia, 5 May 1841, 3
-
WE some time ago predicted that the state of public feeling in Adelaide was not of such a nature as to afford a rea- sonable prospect of support to a public place of amusement of such an extent as the Queen's Theatre, and we ven- tured at the time to suggest to Mr. Solomon, that, even as a money specu- lation, his new erection was better likely to pay if devoted to some general public purposes. The trial of a single season has convinced Mr. Solomon that we were right, and, on Saturday last, he dismissed the whole company, and on Monday commenced taking up the benches in the pit, with the view of throwing open the whole premises to the public. What definite plan Mr. Solomon intends to adopt, we have not yet heard ; but, as for Theatricals, this is to be considered as another abortive and unsuccessful attempt to establish them in the colony.
Article:  Theatricals in Adelaide, Southern Australian, National Library of Australia, 27 August 1841
-
Article:  Tim Lloyd, Lawson story to hit the stage, The Advertiser, The University of Adelaide, Library Special Collections, 17 August 1992
-
Article:  Tim Lloyd, Theatre's rescue plan 'a work in progress'., The Advertiser, The University of Adelaide, Library Special Collections, 2 February 2002
-
THE QUEEN'S THEATRE.—The attendance at the Theatre during the present week will, we presume, lead the proprietor to look forward with some hope. The Jewess was repeated on Thurs- day evening, and as before, admirably performed; Tom Noddy's Secret was the farce, in which Mr Lazar, as the eccentric schoolmaster, and Mr Arabin, as his usher, kept the house in a constant roar of laughter. We observe that the entertain- ment, by request of the Masonic Fraternity, will certainly take place on Tuesday next; and we doubt not, that the bill of fare, together with such respectable patronage, will draw the fullest house of the season. Mr Solomon's liberality in pre- senting the surplus over and above the actual expences of the night to the Hospital, deserve the highest praise; and we hope the public generally will appreciate his good feeling, by giving him a bumper in return on some other night.
Article:  Town Council Proceedings, The South Australian Register, National Library of Australia, 10 April 1841, 5
-
Book:  Edward Snell, The life and adventures of Edward Snell: the illustrated diary of an artist, engineer and adventurer in the Australia colonies 1849 to 1859, Angus and Robertson and The Libary Council of Victoria, Victoria, 30/5, 1988
-
Book:  G L Fischer, The Queen's Theatre, Adelaide, 1841-1842, Pioneers' Association of South Australia, Adelaide, SA, 30/57, 1957
-
Document:  Chris Winzar, Performing Arts Collection of South Australia, Proposal to restore the former Queen's Royal Victoria Theatres as a home for the Performing Arts Collection, The University of Adelaide, Library Special Collections, 1988
-
Flyer:  A Farewell Benefit for Mr Emmanuel Solomon, The University of Adelaide, Library Special Collections, 20 April 1994
-
Letter:  [Queen's Theatre], The University of Adelaide, Library Special Collections, 1994
-
Newspaper:  Queen Theatre, The South Australian Register, National Library of Australia, 19 June 1841, 3
-
Newspaper Clippings:  [Queen's Theatre], The University of Adelaide, Library Special Collections, 1994
-
Photograph:  A Farewell Benefit for Mr Emmanuel Solomon, The University of Adelaide, Library Special Collections, April 1994
-
Photograph:  Places (Adelaide) [B 70869/18006] • Photograph, The State Library of South Australia, 1990
-
Record:  Facade of Old Royal Victoria Theatre, Gilles Arc, Adelaide, SA, Australia, Department of the Environment, Water, Heritage and the Arts
-
Review:  Queen's Theatre, Adelaide Chronicle and South Australian Literary Record, National Library of Australia, 12 May 1841, 3
-
Review:  Queen's Theatre, Adelaide Chronicle and South Australian Literary Record, National Library of Australia, 4 August 1841, 3
-
Review:  The Theatre, Adelaide Chronicle and South Australian Literary Record, National Library of Australia, 17 March 1841, 3
-
Review:  The Theatre, Adelaide Chronicle and South Australian Literary Record, National Library of Australia, 21 April 1841, 3
-
Review:  The Theatre, Adelaide Independent and Cabinet of Amusement (SA : 1841), National Library of Australia, 11 November 1841, 2
-
Review:  The Theatre, Adelaide Independent and Cabinet of Amusement (SA : 1841), National Library of Australia, 4 November 1841, 2
-
Series:  Meg Abbie Denton, Research Materials : Theatres : Some Theatres, The University of Adelaide, Library Special Collections
-
Series:  Meg Abbie Denton, Research Materials : Theatres : The Queen's Theatre, The University of Adelaide, Library Special Collections
-
Websites / Online media:  Arts SA, Queen's Theatre
-
Websites / Online media:  History Trust Of South Australia, Queen's Theatre
-
Websites / Online media:  Joanne Tompkins, Jonathan Bollen, Julie Holledge, Liyang Xia, Visualising Lost Theatres, June 2022
|
Venue Identifier |
3145 |
Provide feedback on The Queen's Theatre