Robert Sidaway's Theatre

In these operatic and dramatic reminiscences I must not be suspected of writing a history of the colonial stage, a huge task in the present day. The early history of the drama in Sydney is very much obscured. Though dramatic talent was available in the very dark, dismal days of Botany Bay, the Governors, autocrats in everything, had 'objections,' not of a religious character, you may be assured, but fearsome of giving the 'bounded' population too much freedom and amusement. Yet one Governor did extend his sympathy to the unfortunates, and permitted the erection of a theatre by one Robert Sidaway. The Governor was John Hunter, and we are informed by “Our Historical Records,” the editor of which quotes from the “Edinburgh Advertiser” of May 18, 1798, that — “The theatre at Botany Bay was built entirely by the convicts, and cost about an hundred pounds. With singular propriety, the gallery is the largest part of the house. The admission is one shilling, which is paid either in money or in flour or meat. A benefit for the widow of a soldier who was drowned produced £12.” ‘Saunder's Newsletter” (Dublin) of September 12, 1797, mentioned that the ex-convict Sidaway was living in a state of ''great respectability,” and that he had a contract for serving the colony with bread, and a free grant of several hundred acres of land, which he cultivated. Mr. Sidaway was a first-fleeter, under a sentence of seven years transportation. He became a very prominent personage in the primitive commercial life of Sydney, and had a lease of land a little off George-street, between Charlotte-place and Margaret-street, where possibly stood the first theatre.

Mr. Sidaway does not appear to have taken any part in the management of the theatre. Possibly, as a capitalist, he erected the building at the request of some who had some experience in theatricals in the old country. The manager's name was Sparrow, and the actors named are Mrs. Davis, Messrs. Chapman, Green, Hawkes and Hughes. The pieces chosen for the opening night, January 6, 1796, were Young's tragedy "The Revenge," and the farce "The Hotel". It was on this historic occasion that the prologue, said to have been written by pickpocket George Barrington, “True Patriots We,” was spoken. After the theatre had been opened for a short time it had become popular, and every art was practised by the worst portion of the prisoner population, to obtain admission. There were no pockets to pick of coin, but as admission could be obtained by payment 'in kind,' extraordinary devices were adopted. One fellow, we are told killed a greyhound belonging to an officer of the 102nd Regiment, and, having 'dressed' it succeeded in palming it of on some gastronome as choice kangaroo, at 3d per lb. How the scoundrel must have sniggered whenever he thought of the choice dish being devoured by an epicure? I reckon he did not snigger when the circumstance was discovered and another animal, not of the kangaroo order, was called into play.

Crime increased so much that the Governor and his advisers ordered the place to be closed.

Seven years (symbolic number) prior to the above effort at establishing a theatre, some of the prison population were permitted to celebrate the King's' birthday, January 4, 1789 (George The Third being King) with a dramatic performance, “The Recruiting Officer,” by Farquhar. The admission to this, the initial performance in Sydney, being presumably gratis.

Some years ago a colonial writer dug up an ancient copy of the London 'Sporting Magazine,' in which was printed as having been received from a Botany Bay correspondent a notice of a benefit performance in the year 1799. It is published verbatim: -

“BOTANY BAY THEATRICALS.

Our readers may perhaps be amused with the following record of fashionable entertainments of the inhabitants of Botany Bay. Who knows but the drama and the stage may yet derive support from this colony? We need scarcely add that at the enchanting representation mentioned below, all the spectators were transported.

MRS. PARRY'S NIGHT

(By permission of his Excellency),

At the Theatre, Sydney, Saturday, June 1, 1799, will be presented

FORTUNE'S FOOL.

Ap Hazard (for this night only), Mrs. Parry; Sir Charles Danvers, by P. Parry; Tim Seymour, by J. White; Orville, by W. Smith; Samuel, by H. Parsons; Sir Bamber Blackletter, by P. H. Hughes; Mrs. Seymour, by Mrs. M'Cann; Miss Union, by Mrs. Radley; Lady Danvers (for this night only), Mrs. Miller.

After the play a new occasional address will be spoken by Mrs. Parry.

To which will be added

BONTON.

Sir John Trotley, by P. H. Hughes; Colonel Tivey, by W. Smith; Lord Minikin, by W. Knight; Tessamy, by H. Parsons; Davey, by J. White; Lady Minikin, by Mrs. Radley; Gymp, by Mrs. Sparkes; and Miss Titup, by Mrs. Parry.

Boxes 5s, front boxes 3s 6d, pit 2s 6d, gallery 1s. Tickets to be had of Mrs. Parry, and of W. Miller. Doors open at half-past five, begin at half-past six."

Some interesting particulars, in the shape of footnotes, are given as to the personality of the players. P. Parry, formerly a grocer in Oxford-street, London, transported for life for highway robbery (Mrs. Parry was presumably the wife of P. Party, and probably followed her husband— or was allowed to keep him company—to Botany Bay; there was a Sarah Parry, a life prisoner, in the first fleet); Mrs. M'Cann, a brothel-keeper at Marylebone, London, transported for seven years (for keeping a 'disorderly house' in Sydney Mrs. M'Cann to-day would get three months). Mrs. Sparkes came out free, but, the chronicler says, "lives with Vandercombe, who is a steady fellow." P. H. Hughes, who was also in the earlier performances, was a printer by trade, and was in all probability the man employed to print Government orders before the advent of George Howe and the 'Sydney Gazette.' Here we have Hughes a printer, beyond all doubt in Sydney in 1799, while George Howe did not arrive until the year 1800.

Philip Gidley King, when in London in June, 1798, wrote his namesake, Under Secretary King, asking for some stationery for Norfolk Island, to which place he had been appointed Lieutenant Governor, and in this letter he says: — "And as I can procure a small printing press for six guineas, which will be useful for the quick dispersion of necessary orders, etc., there being one at Port Jackson. I shall be much obliged by that indulgence being extended to Norfolk Island." I think there can be but little doubt that the playbill and the tickets for Mrs. Parry's benefit were printed on the printing press then in Sydney, and by the actor-printer Mr. Hughes. Anyhow, the unanimity which has existed between press and stage for over a century was commenced at this benefit of Mrs. Parry, and the regret is that we have not a copy of the playbill or the ticket for the occasion.

Of the other performers in these historic dramatic performances two names are mentioned, Francis Grosvenor, alias Foy, transported for seven years, and Pavey, an Oxford-street grocer, whose term is not given. The paragraph which states that the audience were 'transported' may be read two ways, but it stands to reason that the soldiers and free inhabitants would be present at such a dramatic performance, the absence of other amusements being apparent.

Of the ability of the performers we have no mention. That they were not performing for a living may be taken for granted, the appearances of the players being too intermittent to allow us to hope that- there was a 'ghost' walk on the orthodox treasury day. But that there was some money about in the year of the colony 1799 is apparent from the published list of charges for Mrs. Parry's benefit; 5s, 3s 6d.,2s 6d and 1s would be considered good prices to-day. The William Miller from whom tickets could be purchased was a person of some consequence in the primitive town. William Miller had a residence in the neighbourhood of the fire station in Lower George street, kept servants, and owned a sloop which traded to the Hawkesbury. The Mrs. Miller who acted the part of Lady Danvers (for the night only) was probably the early shipowner's wife. If, however, there may be some fog enveloping the first actors and the earliest printer, there is no haze about the first scenic artist. This gentleman's name was Lancashire, a youth when sent out, but who seems to have given offence to some of the 'powers' by his evidence in a celebrated trial, where one Isaac Nichols was charged with stealing tobacco— a 'put-up' case, as it would be termed to-day.

John William Lancashire tells his own story in a petition to Governor Hunter, while lying in Sydney Gaol under sentence of death for a put-up case of forgery or uttering (no doubt there were some blanky scoundrels among the 'Upper Ten ' in the early days). Lancashire said that he was a youth of honest, respectable and worthy parents; had always lived in affluence, and had never a blemish upon his character until he made the slip for which he was transported for seven years. He had been in the navy under Sir Charles Cotton, but owing to ill-health he had to retire. Then he entered the banking house of his uncle, Robert Williams, in Birchin-lane, where he was employed as cash clerk — where, he says, he had opportunities of forging for thousands of pounds, not for shillings, as he was then under the death sentence for.

Lancashire was, of course, an amateur scene painter, but be must have been clever at the business. He gives as a reason for the persecution and unjust condemnation the fact that he had applied to the soldiery of the 102nd Regiment, who comprised a company of amateur comedians, for payment for some scenery which he had painted for them. Governor Hunter believed the youth, and reprieved him. This precursor of Andrew Torning, William Pitt, Habbe, Hemming, Clint and afterwards established himself as a land agent in Sydney, for in old 'Sydney Gazettes-.' he advertises that he has land for sale on Brickfield Hill.

The correspondent of the 'Sporting Magazine," or his transcriber on this side of the globe, goes on to say that the author of the 'ceremonial address' spoken by Mrs. Parry was "the composition of that remarkable rogue of an attorney, Mr. Michael Massy Robinson, a very fluent versifier, who had a queer history of his own, alike as regards the villainy which occasioned his transportation, and later, when he threw away excellent chances in Sydney, and was re-transported to Norfolk Island, that inferno for souls doubly damned, only to re-emerge brisk as ever, and push his way to some of the most responsible and profitable posts at the disposal of the Governor."

This scribe, whether the Botany Bay correspondent of the 'Sporting Magazine' or not, is somewhat in error as to the sinfulness of Australia s first poet, leaving Barrington out — Michael Massey Robinson. This individual was an attorney in good practice, transported in 1798 for “an attack on Mr. Oldham,” “the attack” being per medium of a threatening letter, Robinson came out in the ship Barwell, in a special cabin, the same vessel which brought Judge Advocate Dore.

Robinson made friends with Dore on the passage. The latter, not much of a lawyer, if a lawyer at all, was glad to have such an accomplished man at his elbow, and on arrival, by representations made, by Dore, Governor Hunter conditionally emancipated the poetic attorney, and Dore immediately appointed him his clerk and registrar. The news of the emancipation reached EngIand and Oldham got excited over the possibility of his ancient enemy re-appearing in England and writing more threatening letters. But Governor Hunter disabused his mind on that score, and Oldham rested in peace. Robinson was afterwards sent to Norfolk Island, convicted of perjury, for seven years.

But the Norfolk Island of Robinson's time was not the Norfolk Island of John Price's time; it was a happier place than Sydney was, by all accounts. In those days if a man became obnoxious to those in high places, nothing was easier than to formulate a charge against him, have him convicted, and deported to Norfolk Island or the Coal River.

Captain Piper, one of the earliest of our sportsmen, was commandant at Norfolk Island at the time, and allowed Robinson to return to Sydney within a year or so, for which he got into trouble with the irritable Governor Bligh.

But Robinson triumphed all over his enemies. In, 1810, Governor Macquarie appointed him chief clerk in the Colonial Secretary's office, a position of some importance. Some of Mr. Robinson's poetry has come down to us, but unfortunately the "address" spoken by Mrs. Parry on her benefit night is not among it.

Very little of any interest in matters theatrical occurred in the first 30 years of the nineteenth century. We have a hazy record of some exiles meeting and reciting passages from Shakespeare, and in Macquarie's time we are told that there was a theatre in a loft on Brickfield Hill, and that the Governor attended a performance there. At Emu Plains, when a penal settlement in Sir Thomas Brisbane's time, some exiles got up an evening's entertainment, consisting of 'Rob Roy' and' Honest Thieves.'

Then in Governor Darling's time the Sydney gaol on the debtors' side was the scene of an amateur performance, 'Bombastes Furioso' being the bill of fare, the guard bed in the debtors' room being converted into a stage. The public was admitted to witness the performance.

In the year 1832 Governor Bourke granted Mr. Barnet Levy a theatre license for a saloon in connection with the Royal Hotel, George-street, not of course the present building, but on the same site. He afterwards built a theatre, which he named the Royal, this being the first attempt which succeeded. Mr. Levy is recognised as the founder of the legitimate drama in this country. Mr. Levy's licence provided that only pieces licensed by the Lord Chamberlain should be produced, so that any literary dramatic talent which may have existed in the colony was shut out.

The first performance in the saloon of the Royal Hotel took place on Boxing Day, 1832. The saloon was fitted up as a miniature theatre, 'Black-eyed Susan' and the old farce, 'Monsieur Towson,' being the programme. The theatre was loyally opened, all parties singing 'God save the King.' The little theatre filled each night of performance and money was refused on many occasions. The success was so great that Mr. Levy built the larger establishment mentioned above. The new theatre is described as having been handsomely fitted up with a neat circle of dress and private boxes, an upper tier of boxes, a gallery, and a spacious pit. The house was capable of holding £130. It was opened with the “Mutiny at the Nore,” and "The Miller and his Men." Mr. Meredith was the first manager, before succeeded, in a couple of years by Mr. Simmons. The latter appears to have been a very energetic manager, producing such heavy pieces as "Venice Preserved," “The Honeymoon,” “Pizzaro,” etc. During the Simmons reign the charges for admission were 5s, 4s, 3s and 2s. and the playing nights four a week, Tuesday and Friday being off ones.

(To be continued.)

Theatre in Sydney, in premises of Robert Sidaway, managed by John Sparrow. Opened 16 January 1796.

The evidence is scanty, but it is known that the first theatre building in Australia, known simply as the Theatre, existed somewhere in little Sydney Town at the end of the 18th century. The prices show that it had four divisions in its auditorium - pit, front boxes and gallery. Other descriptions published since the mid-19th century have been based on circumstantial evidence or conjecture. The facts revealed by research so far come from a description by David Collins, Judge-Advocate of NSW, at the time of the first performance in the Theatre; reports printed in a couple of contemporary British journals; and a few playbills in the Mitchell Library in Sydney. 

For a century writers have argued whether Sidaway's theatre was near the bakery where he made the colony's bread - somewhere east of Bell Row, now Bligh Street – or near his home off High Street (now George Street), near present-day Jamison Street. Some have assumed that he built the theatre for the cost of £100 cited in one report, yet Collins's words were: ' ... some of the more decent class of prisoners ... obtained permission to prepare a play-house... [and] they had fitted up the house with more theatrical propriety than could have been expected'. Given the costs of the time, £100 would not have been enough to build a theatre from scratch. Furthermore, 'prepare' does not generally indicate 'erect' or 'construct' a whole building. It is likely that the theatre was in existing premises.

Collins wrote of a benefit for widow Eades and her family: 'The house was full, and it was said that she got upwards of twelve pounds by the night'. Paul McGuire, in his book The Australian Theatre, assumed that this meant the takings for the night were £12 and, calculating loosely from the seat prices, he deduced that the theatre held 120 persons. A beneficiary, however, generally gained the takings less expenses, so £12 would have been yielded by a performance before many more than 120 persons. The design of the interior, with its four divisions, is also uncertain. It may have been laid out in typical Georgian style on two levels, rough-hewn like the theatre shown in J. Wright's 1788 engraving of W. R. Pyne's painting Macbeth in a Barn rather than a typical English provincial theatre. Or it may have been on one raked level, like the fit-ups in barns in which English touring companies played where there was no dedicated theatre; George Coppin describes these temporary theatres in his autobiography. If Sidaway's theatre was of the latter type, this would account for its having been 'dismantled' in 1798, on the orders of Governor John Hunter, and its having existed again in 1799 and 1800.

The Theatre's existence was chequered largely because there was a shortage of money in the colony and goods-in-kind were accepted in place of the one to five shillings charged for admission. A contemporary report claims that while the people of Sydney - mostly convicts and emancipists - were at the theatre, other convicts ransacked their houses.