David Martin

My love of theatres commenced at an early age. When I was a small child, I got myself into trouble for using my bed clothes in the erection of a theatre tent in our back yard. At that period in England, it was the practice in most towns to hold an Annual Fair, which found employment for a large number of people as public entertainers, who travelled from town to town in caravans, in which they lived. There were theatres, circuses, wild beast shows, peep shows, monstrosities (such as dwarfs, giants and a tow-headed lady, who no doubt was a fake), merry-go-rounds, swing boats, shooting galleries, boxing tents and a host of others. After one fair a theatrical company remained in town to give performances. I was keen on visiting the show and risked a castigation for being out late without leave; also, my dread of ghosts, as I had to pass through a churchyard filled with graves, and as I passed through, I imagined ghosts were glaring at me from behind the tombstones.

View of Melbourne looking down Bourke Street from Parliament House, c.1860, by Hamel & Co., lithographers. State Library Victoria, Melbourne.

The first genuine theatre to which I was taken was the Royal, Southampton, to see the play of “Uncle Tom’s Cabin”, by Mrs Harriet Beecher Stowe from a book which did a lot to bring about the abolition of slavery in America, culminating in the American Civil War.

When I arrived in Victoria [February 1855 at 13 years old], the only theatre in Melbourne was “The Queen’s”, in Queen-street, in which the diggers showed their appreciation of the performers by throwing golden nuggets at them. The theatre in later years became a carriage factory. Next door to the theatre was a tavern, known as St John’s, kept by Mr John Thomas Smith (the Whittington Mayor of Melbourne), who also presided at the Police Court; and was a terror of offenders. A son of his in later years became Crown Prosecutor. The Police Court, at the time I refer to, was a commodious bluestone building at the junction of Little Collins and Swanston-streets—the site is now occupied by a portion of the Town Hall.

Old Melbourne: the Salle de Valentino. Wood engraving published in The Australasian Sketcher, 15 April 1876. State Library Victoria, Melbourne.

At the top of Bourke-street, where now stands the Imperial Hotel, was a wood and canvas erection, known as the “Salle de Valentino”, where music and dancing were carried on. The first part was a concert, in which Billie Barlow, a wonderful musical genius, performed. He could extract music from almost anything but specially favoured kitchen utensils. He had a great song named “The Blue-tailed Fly”, which he sang with banjo accompaniment; the refrain was the buzzing of a blowfly, which was most natural.

Lower down Bourke-street was “Mooney’s Concert Hall and Hotel”, on the site of the present Palace Theatre [now Le Meridien]. Admission was free; but all drinks were a shilling and if you were not sufficiently rapid in the consumption of your liquor, a waiter would give you a hint it was about time to order another drink. The entertainment was good and the class of performers the best to be had. Later on, down the street, and opposite Buckley and Nunn’s drapery store, a well-built and suitable edifice was erected for dining rooms and a music hall, which was known as “Tilke’s”. You could be certain there at any hour of getting a good meal. In the music hall the best available talent was engaged, and drinks were supplied to visitors at a reasonable cost. Some time afterwards, a judge and jury were started in the hall. The stage was converted to represent the interior of a courthouse; the judge and counsel were robed in wig and gown, and a man was made up to represent a female witness. The evidence produced was amusing but not always of a too modest character.

G.V. Brooke, 1861. Photo by Jeffrey Hawkins.

State Library Victoria, Melbourne

Charles Mathews, 1870. Photo by W.J. Norman, [Melbourne].

State Library Victoria, Melbourne

Of all the actors I have seen and heard, G.V. Brooke was my special favourite. He had been a well-known and popular tragedian in England and sailed for Australia in 1855. In appearance, he was handsome and dignified; he had a wonderfully resonant voice, which could be heard clearly in every part of the theatre. Such was my admiration of him that I witnessed every piece in which he took a part, sometimes more than once. Of the plays at which I was present I may mention—“Shylock”, “Macbeth”, “Virginius”, “Richelieu”, “Othello”, “Louis the Eleventh”, “Sir Giles Overreach” and “Matthew Elmore.” In spite of his great skill as a tragedian he could descend to lighter parts, the principal of which was “O’Callaghan on his Last Legs”, in which he was inimitable. He should have become a rich man but owing to his good nature and kind heart it was otherwise. After some years he returned to England with a hope of renewing his former glories there; but fortune was against him and he determined to return to Australia, but alas! never reached here. He sailed in the passenger steamer “London”, which foundered in the Bay of Biscay, a few days after leaving England. While hope lasted, he doffed his coat and vest and worked like a trojan at the pumps. When no longer hope existed he stood up, like a Roman hero, and went down with the ship. This information I had from one of the survivors who had escaped in a boat. Another of England’s great notable actors who honoured our shores with a visit, was Charles Mathews, who arrived here in April 1870. He was then 66 years of age and naturally some of his former sparkle had been dimmed; nevertheless, he became a good draw. He opened in the Theatre Royal on 9th April. Amongst his favourite plays were: “Used Up”, “Patter versus Chatter” and “The Critic.” His tour in Australia was most successful and a great pleasure to the large audiences that witnessed his performances. Another of my favourites was Mr Robert Brough, who came here with his talented wife from the Old Country, where they were well-known. He was a gentlemanly and talented actor; his wife had equal merit and was a strong support for her husband, for all they produced was of a refined character. Mr Brough became associated with Mr Dion Boucicault (the talented son of a talented father), in the management of the Bijou and Princess Theatres and their efforts in each were strongly supported by the public.

G.S. Titheradge, 1890. Photo by Falk, Sydney.

Australian Performing Arts Collection, Arts Centre Melbourne

Charles Warner, 1876. Photo by Lock and Whitfield, London.

Elisabeth Kumm collection

Mr G.S. Titheradge came to us from India and from the start he jumped into popular favour. He was a gentleman and while on the stage never forgot it. Although he played many parts, including Shakespearian, the best of his characters were: “The Abbe Dubois”, “Wilfred Denver”, “Colonel Hawtrey”, “Henry Beauclerc” and about twenty others. As the Abbe, his words became a sermon, and his listeners could not have left the Bijou Theatre without feeling better in mind and Morals.

Mr Charles Warner came to Australia early in 1888 and appeared at the Theatre Royal. His style was what might be called “the tempestuous school of acting”. His greatest character was that of “Coupeau”, in the play of “Drink”, in which he delineated the various stages of a drunkard’s career, which constituted a most effectual temperance lecture. Stage by stage he proceeded until he was overcome by delirium tremens and ended a raving maniac. He was equally successful in his delineation of the character of “Hamlet”, and from his interpretation showed that he had carefully studied the character.

The Majeronis in Marie Antoinette, 1880s. Poster by Richard Wendel, published by Troedel & Co., Melbourne.

State Library Victoria, Melbourne

Mr and Mrs Bland Holt, 1907

Elisabeth Kumm collection

Signor and Signora Majeroni visited us in 1883. Both had sufficiently mastered the language to play in English and became great favourites. Madame Ristori was the Signora’s aunt. The play in which I best remember them was “Fedora”, Signor Majeroni as “Louis Ipanoff” and the Signora as “Fedora”. Their delineations were wonderful and the “Fedora” of Signora Majeroni was probably her greatest achievement.

Bland Holt, as a manager and comedian, is one that well deserves remembrance. He had possession of the Theatre Royal, and he and his company deserve the name of a happy family, for all worked well together. His wife was an able and talented seconder to her husband’s efforts. Whatever he put on the stage was most complete in every detail. We have them still with us; they are delightful people to meet and are living privately in Cotham-road, Kew.

George C. Miln as Richard III. Photo by Brewster & Co., Melbourne.

Elisabeth Kumm collection

Louise Jordan, 1888, by unknown photographer

Australian Performing Arts Collection, Arts Centre Melbourne

Mr George Miln, an American, visited us in 1889 (he left the church for the stage), and was accompanied by his wife, who appeared under the name of Miss Louise Jordan. They appeared in the old Opera House, which was afterwards pulled down. Their opening piece was Cibber’s “patchwork” version of “Richard the Third.” Mr Milne was a Shakespearean student. In “Antony and Cleopatra“ he showed that he possessed elocutionary gifts of no ordinary kind.

J.L. Toole as Chawles in A Fool and His Money, 1890. Photo by Falk, Sydney.

Falk Album, Theatre Heritage Australia

Mrs Brown Potter as Camille, 1890. Photo by Falk, Sydney.

Falk Album, Theatre Heritage Australia

In 1890 we had a visit from Mr Kyrle Bellew and Mrs Brown Potter, both of whom had gained attention as “professional beauties.” They opened in the Princess Theatre in “Camille”.

Mr J. L. Toole came to Australia rather late in life and appeared at the Princess Theatre as “Chawles” in the comic drama thus named. Mr Toole had a natural gift of humour; the expression of his features consorted with the character he was acting.

L.L. Smith, 1858. Photo by Mayall, Melbourne.

State Library of Victoria, Melbourne

Sir William Don with George Coppin, c.1862, by unknown photographer

From The Cyclopedia of Victoria, vol. 2, 1903

We had a small building known as the “Novelty”, which was occupied by a French Comedy Company in 1880; it was formerly Dr L.L. Smith’s Anatomical Museum, in which were exhibited wax models showing various stages of the special diseases on which the Doctor was a specialist. The site is now occupied by a building owned by the Salvation Army.

One of the strangest performers with whom we were honoured was a visit from Sir William Don, Bart.; he was a man who troubled not with the cares of the world; light-hearted and volatile, he had run through two fortunes. He was a man of unusual stature, being over 6ft 6in in height. He had been an officer in a crack regiment, but his commission had to go with his fortune. He was specially fitted by Nature for light comedy and burlesque and his appearance never failed to raise a laugh. His delineation of two characters, “Cousin Joe” and “Toodles”, may be specially mentioned.

Joseph Jefferson, 1860s. Photo by Davies & Co., Melbourne.

State Library of Victoria, Melbourne

Joseph Jefferson as Rip Van Winkle. Photo by Sarony, New York.

National Portrait Gallery, London

One of the greatest comedians who honoured us with a visit was Joseph Jefferson, who played continuously in the Princess Theatre for over six months. In spite of his great talents, he was more modest in his efforts; it might even be said he was shy and retiring. His audience forgot that they were witnessing acting and could well believe they were looking on real life; at the same time, he was full of humour. His great Character was that of “Rip Van Winkle”, in which he displayed such great diversity of character, from that of the poor drunkard in his cups to that in the last act, when as an old man he returns to his village after his hundred years’ sleep, to find himself forgotten and mocked at. He was a man who, taking him all in all, “we shall ne’er look upon his like again”.

David Martin. Photo by T. Humphrey & Co., Melbourne.

Courtesy of Margaret Knight

To be continued

First published The Justice of the Peace Magazine, Vol. XVII, No. 119, 7 February 1926, pp.2-3

Thank you to Margaret Knight, great grand daughter of David Martin, for providing a transcript of this article and also for supplying photographs of her great grandfather.

For more information on the career of David Martin, refer https://adb.anu.edu.au/biography/martin-david-7502

Another celebrity was Mr J.C. Williamson, who came to us accompanied by his wife, Miss Maggie Moore, from America, in 1874. They opened at the Theatre Royal on 1st August. Maggie Moore had a good singing voice; she went on the stage when only eight years of age. Their opening piece was “Struck Oil”, which ran for 57 nights. It was so successful that it was taken to Ballarat, Bendigo and Castlemaine. The company went on to Sydney and played the same piece for 20 weeks. “Struck Oil” was, I believe, the best money-making piece ever produced in Australia. After 12 months’ continued success in Australia, Mr and Mrs Williamson went to India, America and Great Britain, meeting with continued success everywhere. They returned to Australia in 1879. Mr Williamson relinquished acting and developed all his energies and experiences to theatrical management. His name is still borne by a theatrical management now carrying on business here.

JC Williamson. Photo by Bradley & Rulofson, San Francisco.

State Library of NSW, Sydney

Maggie Moore. Photo by Tuttle & Co., Sydney.

State Library of NSW, Sydney

We have had Maggie Moore with us until quite recently, when she announced her intention of departing for her native state, San Francisco. A special matinee was held in her honour on 13th of October 1925. Her memory will ever remain fresh in the minds of those who have been privileged to see her on the stage.¹

Frederick Marshall must not be forgotten. He came here under Garner’s management. He was a highly finished actor, carefully studying the characters he had to portray, his principal ones being Markham in “Friends”, Perkins Middlewick in “Our Boys”, and Quilp in “The Old Curiosity Shop.”

Another of our visitors was Mr William Creswick who gained distinction as a tragedian in the Old World. It was late in life when he came to Australia, and his brilliancy had rather faded. His greatest character was that of Sir Giles Overreach.

Dion Boucicault Sr. Photo by Bradley & Rulofson, San Francisco.

State Library of NSW, Sydney

G.W. Anson as Eccles in Caste. Photo by Falk, Sydney.

Falk Album, Theatre Heritage Australia

Dion Boucicault visited us in 1885. He was distinguished not only as an actor but also as an author. His comedy of “London Assurance” made him famous. His first appearance in Melbourne was as Conn O’Kelly in “The Shaughraun”, his own Irish drama. When he left these shores, he left behind him a son and daughter, Mr “Dot” and Miss Nina Boucicault, who inherited the talent of their father and proved admirable additions to the comedy company of Mr and Mrs Robert Brough.

Anson was on our boards for some time. The principal character in which I remember him was that of Eccles in “Caste”, which was a truly clever performance.

Mr John Dunn, the original “Jim Crowe”, came here accompanied by his two accomplished daughters and played with ultimate success. The eldest, Rose, was married to a well-to-do grain broker, Mr L.L. Lewis, who was also a skilled musician. He was organist in St John’s Church, Toorak, where I was a member of his choir. The younger daughter, Marion, was married to Marcus Clarke, the author of the well-known, “For the Term of His Natural Life”, and other well-known works. I was acquainted with Mr Clarke before his literary fame. He was then a clerk in the Bank of Australasia. On the death of her husband, Mrs Clarke was appointed Registrar of Births and Deaths for Melbourne, in recognition of her husband’s talents.

Julia Mathews, 1875. Photo by Lock & Whitfield, London.

National Portrait Gallery, London

Rose Edouin

State Library Victoria, Melbourne

One of the most clever and versatile actresses with whom we have been favoured was Miss Julia Mathews, who came to us from New South Wales, where, I believe, she was born. Her range of characters was unlimited. She was a most deservedly popular favourite. She left us in search of success in London, where she was engaged for the part of “The Grand Duchess Gerolstein”, in which she achieved success. Poor girl, she did not live long to wear her laurels. An unfortunate contretemps occurred to an intimate friend of mine, who had access to the stage of the Princess Theatre, and went there to see his friend, Willie Edouin. He and Miss Matthews were playing in the same piece, both dressed as sailor boys. My friend saw a figure stooping to look through a peephole in the drop scene, which is kept for the purpose of viewing the state of the house. My friend, stepping lightly forward, gave the figure a vigorous slap behind, when to his horror and consternation, Miss Matthews turned round and called out, “Here, look out; mind what you are doing”.

The Edouin family, consisting of a son and three sisters, were included in our public favourites. Willie afterwards became manager of a public theatre. His eldest sister, Rose, was married to Mr G.B.W. Lewis, for many years a leading circus proprietor. After the death of her husband, she was, to the best of my remembrance, manageress of the Haymarket Theatre.

Miss Fanny Cathcart, afterwards Mrs Robert Heir, was a brilliant exponent of Shakespeare and other well-known authors and was leading lady. She fell in love with Mr Robert Heir and married him. They continued to play in Melbourne for many years. He, poor fellow, came to a sudden end. He was on the way to New Zealand, when one day, sitting on a deckchair, he fell forward and expired, a victim of heart failure.

Louise Cleveland

Australian Performing Arts Museum, Arts Centre Melbourne

Madame Céleste

State Library Victoria, Melbourne

Miss Cleveland must not be omitted from my list. She arrived here in 1864 with her husband, Mr Viner (Vincent on the stage). In the character of Constance in “King John”, she displayed wonderful versatility, grief, indignation, and utter despair, which were depicted with tragic force. She even essayed to play the part of “Hamlet”, in which she fairly succeeded.

We were favoured with a visit from Madame Céleste in 1867, which is to be well remembered as Nature had dealt kindly with her. The play in which I best remember her was “Green Bushes”.

Adelaide Ristori. Photo by J.T. Gorus, Sydney.

State Library of NSW, Sydney

Sarah Bernhardt as Cleopatra. Photo by Falk, Sydney.

Falk Album, Theatre Heritage Australia

Another distinguished visitor we had was Madame Ristori, in 1875—to give her full title, the Marchioness Capranica del Grillo. She appeared in Melbourne and the provinces for three months. Some of her leading characters were “Mary Stuart”, “Myrrha”, and Lady Macbeth”.

Although Sarah Bernhardt was here for a very short time, she left behind a lasting impression of her talents. Among her best characters were those of “Camille”, “Fedora”, “Cleopatra” and “Jeanne d’Arc”.

Jennie Lee as Jo. Photo by E.C. Waddington & Co., Melbourne.

State Library Victoria, Melbourne

Nellie Stewart as Zaza. Photo by Talma & Co.

Talma Postcard collection, Theatre Heritage Australia

Jennie Lee must not be forgotten. From her first appearance in Melbourne, she jumped to the front as a great actress. She was most natural. He delineation of the Street Arab in “Bleak House” was excellent. It appealed to the heart, with pity for the sufferings of the poor waif.

One of my great favourites was Miss Nellie Stewart, who possessed great powers as an actress, as well as vocal powers in comic opera. In the character of Zaza, the actress disappeared, and the spectators saw a woman of many moods and deep emotions. Another character in which I admired her was “Sweet Nell of Old Drury”.

I have left to the last my old friend and one in whom I hold in the greatest esteem, George Coppin. He and his wife arrived in Melbourne in July 1845,² bringing a theatrical company, including G.H. Rogers, the famous comedian. As a comedian, Mr Coppin was a master. He took the management of the Queen’s Theatre and produced the first pantomime in Melbourne. He may well be termed the Father of the Victorian Stage. In later years, when it was my privilege to see Mr Coppin on the stage, he took the character of Paul Pry, and the manner in which he sneaked on the stage to interrupt some business in which he was not wanted, with the expression “I hope I don’t intrude”, was a very fine piece of acting. Other characters in which he excelled were Aminabad Sleek in “The Serous Family”, Mawworn in “The Hypocrite”, also Bob Acres and Milky White. We are indebted to Mr Coppin for his enterprise in introducing to Australia very many actors and actresses of great ability, including the late G.V. Brooke. Mrs Charles Young should also be mentioned as having been brought out by Mr Coppin. She afterwards became famous as Mrs Herman Vezin.

George Coppin as Paul Pry

State Library Victoria, Melbourne

G.H. Rogers. Photo by J.T. Gorus, Sydney.

State Library of NSW, Sydney

The Theatre Royal was erected by Mr John Black and Mr Bayne, a solicitor, and it was destroyed by fire in 1872. The present structure is on the same site.

The Olympic Theatre, in Lonsdale-street, was commonly known as “The Iron Pot”. It was one of Mr Coppin’s ventures, put up in 1855 and took only about 30 days to erect. It became the home of many able and talented companies including a company of black-faced comedians, well and deservedly known as “The San Francisco Minstrels”.

Another great enterprise was Cremorne Gardens, Richmond, on the bank of the river, which was opened in 1856. It became a very popular resort for out-of-door entertainments. The gardens were well laid out and included a number of statues. It had refreshment rooms, a wild beast show, optical illusions, and a clever tightrope dancer. Its greatest attraction was a scenic representation of the Siege of Sebastopol, consisting of a painted canvas which spread along the lake at the bottom of the gardens, and from which there was a nightly display of fireworks.

Later on, in 1858, a theatre was added to the attractions of Cremorne. Part of the pleasure of a visit to these gardens was a trip up the river in Waterman’s boats in the cool of the evening. Subsequently a railway was constructed by the Melbourne Railway Company as far as Cremorne, which now forms part of the Brighton railway line. Ultimately the gardens and their contents were disposed of and, alas! to what sad uses may we become at last, it became a private lunatic asylum. For one act alone Coppin’s name deserves to be immortalised; it is that of the establishment of the Old Colonists’ Home. He initiated it as a Home for Old and Disabled Actors and Actresses. I was in the audience of the Theatre Royal when he propounded his plan. It is still a home for disabled actors, but since the original establishment, others than frequenters of the stage are given homes there. In addition to Mr Coppin’s residence in Lennox-street, Richmond, he had a seaside home at Sorrento, in which he passed a good deal of his time. He once wrote to the Government, suggesting the planting of trees on the ocean side of Sorrento, and as I then had charge of State Forests, the matter was handed over to me. Before coming to a decision, I deemed it advisable to visit the place. Mr Coppin, hearing of my arrival sent an invitation to the hotel to spend the evening with him, which I accepted. It was a most delightful interlude. He had staying with him Miss Georgia Hodgson, principal contralto in Lyster’s Opera Troupe, who filled up the evening by singing and playing, to my great delight. After that I often met Mr Coppin in the city, when he would never let me pass without a few words of pleasant converse. When he passed to that “bourne from whence no traveller returns”, I felt I had lost a dear friend.

I have personally had some little experience on the stage. In 1863 I joined the “Garrick Club”, and included in its membership were a number of leading business and professional men. I remained a member of the club for some years, and appeared, I think, on the stage of all the Melbourne theatres, taking part in Shakespearian plays and English comedies.

In conclusion, may I ask my readers to think kindly of the poor players who “strut and fret their hour upon the stage”, and then are heard no more.

David Martin. Photo by Talma & Co., Melbourne.

Courtesy of Margaret Knight

Endnotes

1. Maggie Moore died last month, Jan 1926,  at San Francisco, supervening on an operation in which she lost a leg—Editor of The Justice of the Peace Magazine

2. Possibly January 1845—Margaret Knight, 2025

First published The Justice of the Peace Magazine, Vol. XVII, No. 119, 7 February 1926, pp.2-3

Thank you to Margaret Knight, great grand daughter of David Martin, for providing a transcript of this article and also for supplying photographs of her great grandfather.

For more information on the career of David Martin, refer https://adb.anu.edu.au/biography/martin-david-7502