Rose Edouin

English actress. Née Rose Bryer. Born 29 January 1844, Brighton, England. Sister of Willie Edouin (actor). Married G.B.W. Lewis (manager). Died 24 August 1925, Harrogate, England, aged 80.

On stage in Australia, India, China and England from 1851. In Melbourne, 1857-1864, India, 1867-1876, Melbourne, 1876-1907, and England in 1907-1925. Performed in comedy, drama, burlesque, pantomime, etc. Also teacher of elocution. See Circus and Stage by Mimi Colligan.

Riley/Hailes Scrapbook, page 36.

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