Frank Thornton

 

Following the finalperformance by the Hawtrey Comedy Company on 13 July 1901, actor-manager Robert Brough (of the Brough Comedy Company) took on a short lease of the Palace Theatre. Rather than producing a season of plays, he introduced British magician Charles Bertram to Sydney audiences.

Known as the ‘Court Magician’ or the ‘Royal Conjurer’, Bertram was a master of sleight of hand, appearing before Queen Victoria at Windsor Castle on 23 occasions.¹ Bertram’s Australian visit was part of a world tour that also took him through India, China, Japan, New Zealand and America. Robert Brough, who had had been performing with his dramatic company in India and China, had seen one of Bertram’s shows and agreed to manage his Australian visit.

Charles Bertram: Now on a grand tour of the world, 1901

State Library Victoria, Melbourne

Charles Bertram, c.1900. Photo by Elliott & Fry, London

Following a short season in Melbourne (8 June 1901), Bertram visited Bendigo and Wagga Wagga en route for Sydney, opening at the Palace Theatre on 20 July 1901. Announced initially for ‘twelve nights only’, he stayed on for an extra week, during which time he introduced some new illusions including ‘The Vanishing Lady’. Yet despite his cordial welcome in Sydney, his overall Australian tour was not deemed a success. His skilful manipulation of cards, flags, rings and flower pots was better suited to a drawing room and too small for audiences accustomed to watching much larger shows.²

The author of several books, Bertram wrote a comprehensive account of this tour which he called A Magician in Many Lands.³

Henry Lee. From The World’s Entertainers Souvenir, Palace Theatre, Sydney, 1901.

John Clark collection.

James G. Rial. From The World’s Entertainers Souvenir, Palace Theatre, Sydney, 1901.

John Clark collection.

Following Bertram’s departure, Henry Lee and J.G. Rial took over the Palace with a season of ‘polite vaudeville’, opening on 10 August 1901. Their company, known as the World’s Entertainers, had been formed in America and comprised a number of clever and accomplished variety turns. Key among them was Henry Lee (seen at Palace in 1896 with Phil Goatcher’s Stars of All Nations company), who impersonated ‘Great Men, Past and Present’. Through the use of lighting and changes in costume, he morphed from Shakespeare to Bismarck, to Tennyson, to King Edward VII and Pope Leo XIII. Other artists included the acrobatic comedians Kelly and Ashby who stunned audiences with their billiard table act; Josephine Gassman from Louisiana who sang songs supported by two ‘quaint and diminutive’ piccaninnies; and Charles R. Sweet, the ‘musical burglar’ who amused with humorous ditties and anecdotes. Edison’s latest movie camera, the Projectoscope also made an appearance. All in all it was deemed a ‘capital’ bill of entertainment.⁴

On the final night of the season, 30 October 1901, photographer Talma took a flashlight photo of the audience.⁵

Hans the Boatman at the Palace theatre – as seen by cartoonist Zif.

From Sydney Sportsman, 8 January 1902, p.2

Dot Frederic and Charles Arnold in a scene from The Professor’s Love Story. Photo by Talma, Melbourne & Sydney.

National Library of Australia, Canberra

With the vaudeville season over, the theatre was made available to amateur groups and others pending the return of Charles Arnold and his company on 26 December 1901.

Arnold, who had played two previous seasons at the Palace opened with a revival of Hans the Boatman, a sentimental play with songs that he had first performed in Australia in the 1880s. Hanswas followed by a reprisal of plays from his current repertoire: What Happened to Jones and Why Smith Left Home. Mid-way through the season, on 18 January 1902, he presented a new play, The Professor’s Love Story by J.M. Barrie.

The Professor’s Love Story first saw the light of day in New York in 1892 when it was produced at the Star Theatre, with E.S. Willard in the lead. It seems it had originally been written for Henry Irving who turned it down. Believing the play to be worthless, Barrie subsequently sold the American rights to Willard for £50. After touring the play successfully for two years, Willard eventually brought it to London (opening at the Comedy Theatre in June 1894), by which time Barrie had acquired an agent who secured a flat-rate royalty for the play that also covered any future American (and presumably Australian) performances.⁶

Charles Arnold obtained the colonial rights from E.S. Willard and The Professor’s Love Story was performed for the first time in Australia at the Princess Theatre in Melbourne in June 1900.

Like so much of Barrie’s work, The Professor’s Love Story is a quixotic piece. Its central character is a Scots physicist, Professor Goodwillie, who falls in love with his secretary, but unaware of why he feels the way he does, he consults a physician. Critics and audiences were delighted by Arnold’s performance. The Sydney Morning Herald for instance observed:

Mr Charles Arnold showed himself a light comedian who could touch the pathetic stop with a sure hand, and his portrait of the old-young professor was true to the picture drawn by the author … [He] played throughout with extreme quiet and refinement, showing with much simplicity of manner the professor’s entire unconsciousness of his love for Lucy. His professor was, indeed a man of many winning and endearing qualities.⁷

Arnold was supported by Dot Frederic as Lucy, with other roles filled by Inez Bensusan, Hope Mayne, Agnes Knights and George Willoughby.

The close of the Sydney season on 12 February 1902 brought Arnold’s 96 week Australian tour to an end. During that time it was estimated he had played before 750,000 people. He was also said to have netted £24,000 from the tour, £4000 of which went to George Broadhurst, the author of What Happened to Jones, in royalties.⁸

In a sad footnote to the tour, November 1901 also saw the beginning of the second wave of bubonic plague in Sydney, with cases peaking in February/March 1902.⁹ Two members of Arnold’s company succumbed, Sallie Booth on 27 February and Ada Lee (a younger sister of Jennie Lee) on 1 March. Miss Booth had played Alvina in What Happened to Jonesand Lavinia Daly in Why Smith Left Home, and Ada Lee had been seen as Helma in What Happened to Jonesand Effie in The Professor’s Love Story.

The World’s Entertainers, 1901/1902

State Library Victoria, Melbourne

Violet Elliott, pictured in 1904, after she had moved to London. Photo by Lizzie Caswall Smith.

On 15 February 1902 the World’s Entertainers returned for an extended season, with new artists having arrived from America on 8 February. They were now under the management of J.C. Williamson, Lee and Rial. In addition to Henry Lee, Charles R. Sweet, Josephine Gassman and Arthur Nelstone, new acts included Bunth and Rudd (eccentric comedians); The Marvellous Lottos (novelty cyclists); Carl Nilsson’s Troupe (in their Original Flying Ballet); George Lyding (American tenor); Mdlle Ilma De Monza (Parisian singer); and Mdlle Adele (‘The Lady with the Wonderful Fingers’).

Over the next four months the line-up changed with artist swapping between the Palace in Sydney and Bijou in Melbourne, or going on tour. Some local artists also joined the company including Violet Elliott, often referred to as the ‘Lady bass’. The World’s Entertainers filled the theatre for four months, closing on 28 May 1902.¹⁰

Frank Thornton’s 5th Australian Tour, 1902

State Library Victoria, Melbourne

Vera Fordyce, leading lady with the Frank Thornton’s London Comedy Company. Photo by Lallie Charles, London.

Frank Thornton was one of the most popular comedians to ever visit Australia, making his fifth trip ‘down under’ in 1902. During previous visits he had introduced some well-known farces including The Private Secretary, Charley’s Aunt, The Strange Adventures of Miss Brownand The Bookmaker. On this visit, he had two new plays: Facing the Musicby J.H. Darnley and A Little Ray of Sunshineby Mark Ambient and Wilton Heriot.

He also brought with him his London Comedy Company of eight players: Vera Fordyce (leading lady), Phoebe Mercer (aristocratic old ladies), Leonie Norbury (ingenue), Katie Lee (character), Joseph Wilson (comedian), Alex Bradley (principal juvenile), Galway Herbert (juvenile), J.H. Denton (character), and Frank Wilson (stage manager). Katie Lee was perhaps the best known of these players being a sister of Jennie Lee and the late Ada Lee.

Thornton commenced his tour in Melbourne on 3 May 1902 with the Australian premiere of Facing the Music, relocating to the Sydney Palace on 31 May.¹¹

Like so many farces, Facing the Music has an absurd plot. It involves two ‘John Smiths’, one a curate and the other the owner of racehorses, two ‘Mrs John Smiths’, a Colonel Duncan Smith, and two housekeepers.

First performed in the English provinces during 1900 with Thornton as Mr John Smith, Thornton also produced the first London production at the Strand Theatre (10 February 1900) with James Welch as the star.

Facing the Music proved something of a hit with Sydneysiders, playing for six weeks at the Palace, but it was withdrawn prematurely to make way for the first Australian production of A Little Ray of Sunshine on 19 July 1902. This comedy was in a different vein to Facing the Music. Rather than relying on broad humour for laughs, it was more of a character piece, and closer in sentiment to a morality tale than a knock-about farce. It had been a success in London, with W.S. Penley as Lord Markham, an eccentric millionaire who having deserted his family as a youth returns to the family seat and through various acts of benevolence helps them into become better people.

A Little Ray of Sunshineplayed until the close of the season on 7 August. Although not as engaging as its predecessor, it seemed to please much of the audience.

In August, J.C. Williamson Ltd. sub-leased the theatre from Messrs Lee and Rial for a four months period . Once again the Pitt Street venue was coming to the rescue of a company that had lost its usual theatre due to fire. In 1899 with the destruction of the Tivoli, Harry Rickards turned to the Palace. Now JCW was in need of a new venue following the burning of Her Majesty’s Theatre in March. Williamson’s maintained two Sydney theatres, Her Majesty’s in Pitt Street, and the Theatre Royal in Castlereagh Street. With one theatre out of action they needed somewhere to present their new raft of musical comedy attractions.

JCW’s first offering was San Toy, an original musical play by Edward Morton, with music by Sydney Jones. San Toy had its Australian premiere at Her Majesty’s in Melbourne in December 1901 and since that time it had toured throughout Victoria, South Australia, Western Australia and Queensland. When it arrived in Sydney, only one of the original twenty-seven principals remained, namely Ernest Mozar, who played Lieutenant Harvey Tucker.

The key roles were now performed by Rose Musgrove as San Toy (replacing Carrie Moore); Lillian Digges as Dudley (in place of Grace Palotta); Fred H. Graham as Li (rather than George Lauri); Arthur Crane as Captain Bobby Preston (for Charles Kenningham); Charles Trood as the Emperor of China (instead of Hugh J. Ward); and Lulu Evans as Poppy (succeeding Florence Young). Fred H. Graham had also taken over from Spencer Barry as stage director.

Lillian Digges and Arthur Crane in The Messenger Boy, 1902. State Library Victoria, Melbourne.

San Toy had its initial performance at George Edwardes’ Daly’s Theatre in London in October 1899, with Marie Tempest in the title role. It held the stage for over two years during which time the lead was also played by Florence Collingbourne. The musical’s oriental setting provided the opportunity for superb costumes (designed by Percy Anderson) and settings (painted by Hawes Craven and Joseph Harker), the latter being copied from London models by JCW resident scenic artists John Gordon and George Dixon.

The next production was a revival of The Belle of New York, a musical comedy that had first been seen in Australia during 1899 with a largely American cast headed by Louise Hepner. At the Palace, it played from 13 September 1902 to 7 October 1902, with Lillian Digges as the Belle.

On 3 October a potentially fatal accident occurred when a member of the audience fell from the gallery balcony into the stalls. Miraculously no-one was below and he survived the fall suffering only from shock and a fractured knee.¹²

 The final offering for the present season was The Messenger Boy, which was being performed in Australia for the first time. Due to the elaborate preparations necessary for the production, the opening night was postponed from the Saturday to the following Wednesday, 8 October 1902.¹³

Featuring a book by James T. Tanner and Alfred Murray, lyrics by Adrian Ross and Percy Greenbank, and music by Ivan Caryll and Lionel Monckton, The Messenger Boy had first been performed at the Gaiety Theatre in London during February 1900 following a try-out in Plymouth. With principal roles played by Edmund Payne, Harry Nicolls, Violet Lloyd, Maud Hobson and Connie Ediss, the musical was a ‘runaway success’, playing for 429 performance.

The Australian production featured artists from JCW’s comic opera company: Fred H. Graham as Tommy Bang (the Messenger Boy), Arthur Crane as Clive Radnor, Arthur Lissant as Hooker Pasha, Lillian Digges as Nora, Blanche Wallace as Lady Punchestown, Rose Musgrove as Rosa, and Fred H. Graham as the stage director.

The exotic locales in which the musical was set gave JCW scenic designer John Gordon the opportunity to impress with scenes of London, Brindisi, Cairo and Paris.

Henry Lee as Cyrano de Bergerac

From The Evening News (Sydney), 1 November 1902, p.2

Eugenie Duggan. Photo by Talma, Melbourne & Sydney.

Author’s collection

With the departure of the JCW company, William Anderson took over as sub-lessee and manager. He launched his season with Cyrano de Bergerac on 1 November 1902, with American Henry Lee (formerly seen with the World’s Entertainers) in the title role, and Eugenie Duggan as Roxane. This was the debut of Edmund Rostand’s play in Sydney. First performed in Paris in 1897, the play was adapted for the English-speaking stage in 1900 by Stuart Ogilvie and Louis N. Parker, with Richard Mansfield creating the title role in America and Charles Wyndham in the UK.

Anderson’s company had premiered the play at the Melbourne Bijou in August 1902, with Lee as Cyrano and Janet Waldorf as Roxane. It featured elaborate costumes designed and executed by Messrs Lincoln, Stuart & Co., and scenery by John Little and Alfred Tischbauer (Alta).

It seems Henry Lee prepared the text himself. ‘Lee’s is a bad translation, in which much of the point and relish of the comedy was lost’, wrote one critic, ‘Probably the Sydney gallery would have been just as uneasy had the play been well done, but I must claim for them that the Cyrano of the performance leaves a bitter taste in the mouth.’¹⁴

In fact the behaviour of the gallery so incensed Lee that on opening night he stopped the play during the last act to address the audience, declaring: ‘This is my first appearance in Sydney in drama, and were it not that I am under engagement to Mr Anderson, and am in honour bound to fulfil my contract, it would be my last appearance.’¹⁵ The following Monday, Lee called in sick with gout and Edmund Duggan took over. Despite suggestions that Lee would be back, he was not, and the planned four-week season came to an abrupt close at the end of the week. As a result, William Anderson had to rush in a new show: Walter Melville’s melodrama The Worst Woman in London. As the titular character, Frances Vere, Eugenie Duggan was at her evil best, and with a plot brimming with dastardly acts of blackmail, murder, arson and robbery, audiences were kept on the edge of their seats. With Anderson’s lease ending on 28 November 1902, The Worst Woman in London was withdrawn at the height of its success.

To be continued

Endnotes

1. Advertisement, The Sydney Morning Herald, 20 July 1901, p.2

2. Charles Waller, Magical Nights at the Theatre, p.112

3. Charles Bertram, A Magician in Many Lands, G. Routledge & Sons Ltd., 1911. Bertram died in 1907 (aged only 53) and the book was finished by his wife.

4. The Sydney Morning Herald, 12 August 1901, p.3

5. The Evening News (Sydney), 30 October 1901, p.1. Unfortunately the photo does not seem to be extant.

6. Denis Mackail, The Story of JMB, p.203

7. The Sydney Morning Herald, 20 January 1902, p.5

8. The Critic (Adelaide), 22 February 1902, p.13; Brisbane Courier, 22 February 1902, p.9

9. The first wave of plague occurred in Sydney between January and August 1900, with 103 deaths. The second wave, which lasted six weeks, claimed 39 lives. See The History of Plague in Australia, 1900–1925.

10. For more information on the World’s Entertainers, see Australian Variety Theatre Archive, https://ozvta.com/international-tourists/

11. The Princess Theatre was required by George Musgrove’s company.

12. The Sydney Morning Herald, 4 October 1902, p.11

13. The Sydney Morning Herald, 2 October 1902, p.4

14.The Critic(Adelaide), 29 November 1902, p.13

15. Punch (Melbourne), 13 November 1902, p.31

References

Charles Bertram, A Magician in Many Lands, G. Routledge & Sons Ltd., 1911

Gerald Bordman, American Theatre: A chronicle of comedy and drama, 1869–1914, Oxford University Press, 1994

JHL Clumpston & F. McCallum, The History of Plague in Australia, 1900-1925, Commonwealth of Australia, Department of Health, 1926

Denis Mackail, The Story of JMB, Charles Scriber’s Sons, 1941

Charles Waller, Magical Nights at the Theatre, edited and published by Gerald Taylor, 1980

J.P. Wearing, The London Stage: A Calendar of productions, performers, and personnel, 1890–1899, 2nd edn, Rowman & Littlefield, 2014

J.P. Wearing, The London Stage: A Calendar of productions, performers, and personnel, 1900-1909, 2nd edn, Rowman & Littlefield, 2014

Newspapers

The Critic (Adelaide, SA); Brisbane Courier (QLD); The Evening News (NSW); Punch(Melbourne); The Sydney Morning Herald (NSW)

With thanks to

John S. Clark, Mimi Colligan, Judy Leech, Les Tod

Following the departure of Carter, the Great Magician on 6 December 1907, the Sydney Muffs returned for a brief season from 16 December to 20 December 1907, presenting three plays: Rob Roy, The New Boy and A Village Priest.

Boxing Day saw the first appearance of Irish-American comedian J.F. Sheridan at the Palace. Playgoers were well-acquainted with Sheridan’s special brand of comedy. Since his first trip in 1884, he had been a regular visitor to these shores. Sheridan’s speciality was ‘travestie’ roles, which is to say he played female characters, typically buxom Irish widows!

Heba Barlow, leading lady with the Anderson-Sheridan company

Josef Lebovic Gallery collection no. 1, National Museum of Australia, Canberra

Sheet music cover for ‘Will he answer, Goo-Goo’, published by Allan & Co., c.1907

National Library of Australia, Canberra

The attraction at the Palace was Cinderella, a Christmas pantomime devised by J.F. Sheridan and Fred W. Weierter, with topical allusions by journalist Pat Finn (son of Edmund Finn, who as ‘Garryowen’ wrote Chronicles of Early Melbourne). Presented in association with William Anderson, this work had already been seen in Perth, Fremantle and Adelaide during the Christmas/New Year period 1906/07, though it seems it had its first outing back in 1902.¹

Naturally, Sheridan played the Baroness. Other roles were performed by Heba Barlow (Cinderella), Stella Selbourne (Prince Charming), Marie Eaton (Dandini), along with Olive Sinclair as the Fairy Queen, Miss Roland Watts Phillips and Percy Denton as the Ugly Sisters, and Joseph Lamphier as the Baron. Sheridan was the undoubted star of the show, as noted in the Sydney Morning Herald, 27 December 1907:

Probably, when the memory of this year’s Cinderella has become obliterated, or confused with other versions, there will still remain one outstanding feature of artistic distinction, and that will be John F. Sheridan’s inexpressibly quaint and ridiculous portrait of the Baroness Bounder. On his entrance the comedian presents the severe simplicity of some antique spinster of uncertain age and horribly certain ugliness, in the dress of the Early Victorian era, with crinoline, lace collar and cuffs, and a chastely discreet exhibition of fowl-like, sinewy neck. Probably an ugliness less insistent would make this character even more telling than it is because its whole value consists in the marvellous way in which the actor always keeps within the bounds of lifelike femininity. It is a real study; and the Baroness singing ‘Will he answer, Goo-Goo?’ in a prim little voice, and with a daintily dished style of old-maidenly dancing, is a thing to be remembered.²

The song, ‘Will he answer, Goo-Goo’ was published by Allan & Co., and the sheet music cover featured a portrait of Sheridan in his costume as the Baroness.³

The pantomime was a riot of colour and movement. As the Australian Star noted, ‘With limited stage accommodation Messrs. William Anderson and John F. Sheridan have succeeded in putting on some wonderfully good spectacles with more than 100 performers on stage.’ One of the highlights was the Porcelain March. Other attractions included a Snow and Robin ballet, Sappho and Rainbow ballets, and an amusing routine entitled ‘five minutes on ice’ by American champion roller-skater Fred Norris.⁴

Cinderellaran until 30 January 1908, and the following night, for one performance only, the company presented Fun on the Bristol, in which Sheridan played his most enduring character, that of the Widow O’Brien.

Thereafter, the company took Cinderella to Newcastle, and then on to New Zealand. In October 1908, Sheridan returned to Sydney and was seen in a matinee benefit at the Tivoli in aid of the NSW Vaudeville Club, in what would be his last appearance in the city. Two months later, in Newcastle, about to open his Christmas season, he died of heart failure. He was 65.

Thereafter a ‘mixed bag’ of tenants occupied the Palace stage.

Following the departure of the Sheridan company, Spencer’s Theatrescope Co. returned for a six-week season of novelties, from 2 February to 27 March.

From 28 March to 2 April, the NSW Sports Club Ltd presented amateur boxing and wrestling tournaments.

On 3 April, the Bank of NSW Musical and Dramatic Society staged the A.W. Pinero comedy The Parvenu.

Owen Clark, 1908

W.G. Alma conjuring collection, State Library Victoria, Melbourne

Barclay Gammon, comedian with Maskelyne and Devant’s Co. at the Palace Theatre

From The Referee (Sydney), 13 May 1908, p.12

Magic returned from 4 April to 27 May with the Maskelyne and Devant’s Mysteries. Though neither John Nevil Maskelyne nor David Devant was in the company, the tricks that they perfected at the Egyptian Hall in London formed the basis of the show. Magician and illusionist Owen Clark was the principal performer, supported by Gintaro, a Japanese juggler, with comedian Barclay Gammon at the piano. Clark proved to be an able and popular performer, though on opening night he upset the gallery boys who not being able to see the stage clearly due to a piece of stage apparatus blocking their view, shouted to Clark to have it raised. But not understanding their calls, an altercation ensued, and the management had to bring the curtain down while the problem was rectified.⁵

Decorative program for the 1908 Australian and New Zealand tour of Edward Branscombe’s Scarlet Troubadours. Reed Gallery, Dunedin Public Libraries, New Zealand.

On 30 May and the following week, the Scarlet Troubadours made their first appearance in Sydney, having already achieved success in Perth, Adelaide, and Melbourne. Described as a ‘costume concert company’, this troupe was under the direction of the enterprising concert promoter Edward Branscombe. He had visited Australia several times before, notably with the Westminster Glee Party in 1903. Branscombe would go on to establish The Dandies, individual troupes of performers distinguished by the colour of their costumes—Red Dandies, Green Dandies, Pink Dandies, etc. During the summer months, these troupes performed throughout Branscombe’s network of open-air theatres.

The Scarlet Troubadours, 1908. Maude Fane is second from the left in the middle row. HAT Archive.

The line-up of the Scarlet Troubadours comprised eight performers. One of the ladies in particular, Maude Fane, would go on to enjoy a successful career in musical comedy with JCW. She was described as ‘a discovery of Mr. Branscombe … gifted with a soprano of unusual clearness and sparkle’.⁶

Then on 6 June, West’s Pictures settled in, presenting the ‘latest novelties and surprises in cinematography’, accompanied by De Groen’s Vice-Regal Band.

From 31 August, McMahon and Carroll commenced a four-week season of films.

Postcard commemorating Frank Thornton’s last performances in Australia. Photos by Talma & Co.

Author’s collection

Finally on 5 September, comedy returned to the Palace when Frank Thornton commenced a four-week farewell season, presenting revivals of his two most popular plays: The Private Secretary (in which he played the hapless cleric the Reverend Spalding) and Charley’s Aunt (where he excelled as Lord Fancourt Babberley, aka Donna Lucia, the Aunt from Brazil—‘where the nuts come from’!). Thornton was supported by an ‘all new’ company that included Templer Powell, Charles Stone, Belle Donaldson, Clare Manifield and Harriet Trench.

Like Sheridan, Thornton had been a regular visitor to Australia, making six tours between 1885 and 1909. Thornton made his final bow before a Sydney audience on 9 October, the Sydney Morning Herald, 10 October 1908, reporting:

Laughter reigned supreme, however, until the very end, when, in a touching and dignified speech of farewell, Mr. Thornton revealed to a surprised and regretful audience his resolution to retire from the stage. In doing this he remarked that his heart was too full on that occasion of long leave-taking to do justice either to himself or them … He was now terminating his sixth return to the country he had learned to love so well.⁷

Thornton concluded his tour with appearances in Brisbane and Melbourne, and on his return to England, true to his word, he settled into quiet retirement. He died in 1918, aged 73.

Characters in Two Little Sailor Boys

From Sydney Mail, 7 October 1908, p.947

Lilian Meyers. Photo by Talma & Co., Sydney and Melbourne.

National Library of Australia, Canberra

Saturday, 10 October 1908 saw the return of Meynell and Gunn’s Dramatic Company. During the following five weeks they presented two plays: Two Little Sailor Boysand A Miner’s Trust.

Two Little Sailor Boys, a drama by Walter Howard, the author of the highly successful The Midnight Wedding, was being presented for the first time in Sydney. The title characters were played by Louise Carbasse and Maisie Maxwell, though it seems they did not make an appearance until the last act. The real focus of the drama was the ‘handsome adventuress’ Lola (played by Lilian Meyers), described as an ‘utterly callous fortune hunter’. She is the mother of one of the sailor boys, Tom Yorke, who almost drowns when she pushes him into a swirling river, only to be saved by Cyril Grey, the other sailor boy of the title.

Sydney-born Louise Carbasse, who played the role of Cyril, would go on to have a successful career as Louise Lovely appearing in some fifty Hollywood movies between 1915 and 1924.

Other roles were played by Conway Wingfield, Maud Chetwynd and Lorna Forbes.

Poster for The Miner’s Trust. Colour lithograph by Troedel & Co., Melbourne, c.1909.

From Australian Theatrical Posters, Josef Lebovic Gallery, 1988

Conway Wingfield. Photo by Sarony Studios.

State Library Victoria, Melbourne

Three weeks later, on 31 October, the same company presented A Miner’s Trust by Jo Smith, ‘for the first time on any stage’. A former Melbourne businessman, Smith would go on to have further success with The Bushwoman (1909) and The Girl of the Never-Never (1912). With respect to ‘home-grown’ talent, Anderson was one of the few managers who was prepared to back Australian plays. This new piece, which was having its ‘world premiere’, was set in part on the Australian goldfields in the early days. The melodramatic plot concerns two miners, Alan Trengrove (Conway Wingfield) and Jack Howard (Wentworth Watkins), who having amassed considerable fortunes are returning to England after ten years in Australia. The two men are similar in appearance—and when Howard is murdered en route for home, Trengarth takes his place; not for any sinister reason, but to save Howard’s blind sweetheart, Alice Medway (Lorna Forbes), from certain shock should she learn the truth about the death of her fiancé! But the hero faces numerous dilemmas, when among other things, he falls in love with Alice’s sister Ida (Lilian Meyers) and having changed his name learns that as himself he has been left a fortune following the death of his uncle. A Miner’s Trust played until 13 November.

Advertising postcard for The Prince Chap, Criterion Theatre, London, 1906. Author's collection.

The following evening, H.R. Roberts (under the management of Harold Ashton and Allan Hamilton) made his debut at the Palace. This New Zealand-born actor, well-known in Sydney, was making his reappearance in Australia after nine years abroad. Roberts’ opening play was The Prince Chap, a comedy-drama by Edward Peple, based on Peple’s 1904 novel of the same name. This was the first Sydney production; the play having already been seen in Christchurch on 1 June 1908 and in Melbourne on 15 August 1908.

When The Prince Chap was premiered in New York at Madison Square Theatre in September 1905, the principal role of William Peyton was created by Cyril Scott. Roberts, however, played the role in London, when it received its British opening at the Criterion Theatre on 16 July 1906. Other players in the company included Hilda Trevelyan, Sam Sothern, Lilias Waldegrave, Janet Alexander and A.E. Greenaway.

Peple was taken by H.R. Roberts portrayal of William Payton. Quoting a letter from Peple to Roberts, the Daily Telegraph recorded:

It is rather a remarkable coincidence that, in writing both the play and the novel, I should have described the leading character as a man whose personality and temperament are so eminently in accord with your own; and indeed, had I called upon you originally as a model for the man himself, I could not have been more accurate in portraying the spirit and individuality of my hero.⁸

Set in London, it tells the story of a young sculptor whose loses the affections of his sweetheart when, after seeing him with a young girl, mistakenly believes he is the father. The girl, Claudia, is the daughter of one of his models (who in the play’s prologue, asks William to look after her daughter, before dramatically dying in his arms)—and he raises her as his own. The play spans some thirteen years, and when the final curtain falls, Peyton, now a successful artist, realises that he is in love with Claudia, who is now a young woman. The play’s three acts are subtitled: The Child (Act 1), The Girl (Act 2) and The Little Woman (Act 3), and to represent Claudia at each of these times, she is played by three different actresses.

In Australia, Claudia was played by Vera Huggett (Act 1), Beryl Yates (Act 2) and Justina Wayne (Act 3). Australian actor A.E. Greenaway reprised his London role of the Earl of Henningford, while other newcomers included Frank Lamb (Marcus Runion) and Mary Keogh (Phoebe Puckers), with Vera Remee as Alice Travers (Peyton’s former sweetheart).

The play was enthusiastically received, but due to the short season it only played for a fortnight. On 28 November, the company produced A Message from Mars. This play had been seen at the Palace back in 1901 with the Hawtrey Comedy Company. In this current revival, Roberts played Horace Parker, with A.E. Greenaway as the Messenger from Mars, and Fanny Erris as Minnie Templar.

H.R. Roberts

Australian Performing Arts Collection, Arts Centre Melbourne

Maggie Moore in Struck Oil, 1908

Australian Performing Arts Collection, Arts Centre Melbourne

Six nights later, Maggie Moore joined the company. She was reappearing after an absence of six years. Her last Sydney season had been at the Palace in June 1903. Maggie and Roberts, who had been performing together since the early 1890s, had ‘tied the knot’ in New York in April 1902. Maggie had first come to Australia in the mid-1870s with her then husband J.C. Williamson, but the two had separated by 1891, finally divorcing in 1899.⁹

On Saturday, 5 December 1908, Maggie joined her husband in a revival of Struck Oil, a play they had performed in together on many occasions, though it was Maggie and Williamson who had first created the characters of Lizzie Stofel and her father John Stofel back in the 1870s. In this current revival, Maggie introduced two new songs: ‘Dixie and the Girl I Love’ and ‘I’ll Be Waiting, Dearie, When You Come Back Home’.

Struck Oil held the stage until 24 December. On Boxing Day, Edwin Geach took over the theatre, presenting two shows daily: the Christmas pantomime Robinson Crusoeat 2pm and the drama The Woman Paysin the evening.

Robinson Crusoe, with libretto and score by Fred W. Weierter, featured an ‘all-juvenile’ cast headed by Louie Crawshaw (Robinson Crusoe), Florrie Johnson (Polly Perkins) and Walter Cornock (Will Atkins). The piece had been seen in Sydney the previous Christmas when it was staged at William Anderson’s Wonderland City, transferring to the Oxford Theatre in George Street in mid-January.

The pantomime was a hit: ‘the pretty little playhouse was packed with parents and their children, and a capital entertainment on a modest scale at popular prices was given by a great troupe of well-trained juveniles’.¹⁰

Nellie Fergusson

State Library of New South Wales, Sydney

Ethel Buckley. Photo by Talma & Co.

Powerhouse Collection, Sydney

The evening show was in compete contrast. Written by Frank M. Thorne, The Woman Payswas a sensation drama in which ‘Thrilling incidents follow one another in quick succession, and the action of the drama is worked out in melodramatic fashion’, including a spectacular waterfall scene and a shipwreck. ‘The old story of man’s inhumanity to woman, and of the woman’s revenge’, the central characters were played by Nellie Fergusson (Madge Threadgold), Kenneth Hunter (Sid. Armstrong), Jefferson Taite (Roger Marchant), and Ethel Buckley (Polly Stokes).¹¹ Having had its UK premiere in Gateshead in 1907, the piece was being performed in Sydney for the first time, the company having given the Australian premiere at the Victoria Theatre, Newcastle, on 8 September 1908, and it had been produced in Melbourne the following month.

At the Palace, The Woman Pays attracted crowded houses, but due to the brevity of the season, it was withdrawn on 8 January 1909 and replaced by the ‘the most popular drama of the century’, East Lynne, with Nellie Fergusson in the dual role of Lady Isabel and Madam Vine. It played for six nights—and on 15 January 1909, both it and Robinson Crusoe were performed for the last times. 

To be continued

Endnotes

1. See https://ozvta.com/wp-content/uploads/2019/08/1907-682019-1.pdf

2. Sydney Morning Herald, 27 December 1907, p.6

3. https://nla.gov.au/nla.cat-vn7052964

4. Australian Star, 19 December 1907, p.8

5. Magical Nights at the Theatre, pp. 145-146

6. Bulletin, 28 May 1908, p.9

7. Sydney Morning Herald, 10 October 1908, p.16

8. Daily Telegraph, 18 April 1908, p.17

9. See Leann Richards, How Mrs J C Williamson Struck Oil | Stage Whispers

10. Sydney Morning Herald, 28 December 1908, p.3

11. Sydney Morning Herald, 28 December 1908, p.3

References

Eric Irvin, Australian Melodrama: Eighty years of popular theatre, Hale & Iremonger, 1981

Allardyce Nicoll, English Drama 1900–1930: The beginnings of the modern period, Cambridge University Press, 1973

Peter Sumner, Australian Theatrical Posters 1825–1914, Josef Lebovic Gallery, 1988

J.P. Wearing, The London Stage, 1900–1909: A calendar of productions, performers, and personnel, 2nd edition, Rowman & Littlefield, 2014

Newspapers

The Australian Star (Sydney), The Bulletin (Sydney), The Daily Telegraph (Sydney), The Gadfly (Adelaide), The Referee (Sydney), The Sphere (London), Sydney Mail, The Sydney Morning Herald, Town and Country Journal (Sydney)

Trove, https://trove.nla.gov.au/

Pictures

Australian Performing Arts Collection, Arts Centre Melbourne

HAT Archive

National Library of Australia, Canberra

Powerhouse Collection, Sydney

Reed Gallery, Dunedin Public Libraries, New Zealand

State Library of New South Wales, Sydney

State Library Victoria, Melbourne

With thanks to

John S. Clark, Judy Leech, Rob Morrison