Quality Street: Australia

Members of the Brough–Flemming Comedy Company, 1905—Back row, left lo right: Miss Gordon Lee, Edgar Payne, Emma Temple, Carter Pickford, Robert Brough, Beatrice Day, Norman McKeown, John Forde, Bessie Major. Sitting, left to right: Winifred Fraser, John Paulton, Herbert Flemming, Dundas Walker (in front of Herbert Flemming), Philip Leslie, Kate Gair. Photo by Greenham and Evans, Perth. From The Theatre (Sydney), 15 September 1905.

Quality Street. Comedy in four acts by J.M. Barrie. Presented by the Brough-Flemming Comedy Company. Produced under the personal direction of Robert Brough. Assistant stage manager John Paulton. The scenery, costumes and properties same as used in the original production at the Vaudeville Theatre, London. Musical director Henry Weinberg.

Brough–Flemming Comedy Company

In Australia, Quality Street was given its premiere by the Brough-Flemming Comedy Company. Robert Brough, joint director of the new company with Herbert Flemming, was returning to Australia after an absence of almost three years, during which time his Brough Comedy Company had toured throughout India, the East and South Africa. Brough had been part of the Australian theatre landscape since the mid-1880s and as co-director of the inestimable Brough-Boucicault Comedy Company with Dion Boucicault, his name was associated with fine acting and quality productions. In 1896, Boucicault returned to London, and from that time Brough managed the company on his own. Since 1900, Boucicault had been running the Duke of York’s Theatre in London on behalf of Charles Frohman, and it was no doubt through Boucicault that Brough was able to obtain the rights to the Barrie play.

It was announced that the company would commence their Australian tour in Perth on 22 April 1905. In addition to the specially engaged English players, Emma Temple and Bessie Major, sisters of Florence Brough (Robert’s wife), were also included in the company. Emma Temple had last been seen in Australia with the Brough Comedy Company in 1902, but Bessie Major was returning to the stage after eight years absence in England. Florence Brough travelled with the company, but planned to perform only in “special” revivals. 

As well as Quality Street, the other plays in the company’s repertoire were: The Walls of Jericho by Alfred Sutro; Little Mary by J.M. Barrie; and Beauty and the Barge by W.W. Jacobs and Louis N. Parker.

Arriving in Adelaide from England on 6 March 1905, Herbert Flemming told waiting reporters:

You have of course heard that Mr. Brough and myself have entered into partnership. Mr. Brough is at present on board the Ophir with all the English members of our new company. … I am now going on to Melbourne to organise the local staff and I will return to meet Mr. Brough in Perth on March 30. I had great difficulty in inducing Mr. Brough to return to Australia. He insisted that he had bidden a final farewell to this country, and was most unwilling to come back again. But in my recent travels I have been forced to the conclusion that Mr. Brough’s name is an honored one in Australia, and that people would be glad to see him again, and therefore urged him to join me, and—well, here we are.

We will open the tour with the latest London success, a comedy by Mr. W.W. Jacobs, called ‘Beauty and the Barge’. It has been produced for 250 consecutive nights in London, and is still going strong. The second play is a society drama, which has just run for 100 nights in London. It is called ‘The Walls of Jericho’, and is really a showing up of smart society. This is accomplished by two Australians—a squatter and a prospector—so it should be of special interest to Australia. I may say that Mr. Brough and myself take the parts of the two Australians. The play is by Mr. A. Sutro. The third new play is a comedy by Mr. J.M. Barrie, called ‘Quality Street’, which made a great hit in London two years ago. We have also Barrie’s well-known comedy ‘Little Mary’. We believe that these four will see us through the season, but if they don’t, we have several other, including ‘The Liars’ and ‘Camille’ to fall back on.

Our leading lady is Beatrice Day, from the Haymarket Theatre. She was most successful in a recent South African tour. Miss Winifred Fraser took the part in ‘Little Mary’ at the Duke of York’s Theatre that Miss Nina Boucicault used to play, and sustained the title role with great success when Mr. John Hare took the play to America. Miss Bessie Major, who was out here with Mr. Brough several years ago, is also engaged, and so is Miss Ethel Cooper, a favorite London actress. Of the men, we have secured Mr. Carter Pickford, Mr. Leslie Stewart, Mr. Edgar Payne, and Mr. J. Paulton. These, with ourselves, are the principals. Mr. John Ford is the only Australian actor we have so far engaged in support.

The Express and Telegraph (Adelaide), 7 March 1905, p.3

Beatrice Day, leading lady with the Brough-Flemming Comedy Company

Elisabeth Kumm collection

Herbert Flemming, actor/manager with the Brough-Flemming Comedy Company

From The Theatre (Sydney), 1 March 1906

Robert Brough was well-known for faithfully reproducing London successes and offering playgoers high-quality, well-acted productions. As to be expected, when possible, they secured original sets and costumes, as noted in an article in the Daily Telegraph (18 March 1905, p.15):

Mr. Brough is bringing out four new plays— “Beauty and the Barge”, “The Walls of Jericho”, “Little Mary”, and “Quality Street”. The first-mentioned is to be mounted precisely as it was at the London Haymarket—to the smallest detail, so Mr. Brough promises, and, as has already been stated, he has a barge aboard the Ophir. For “Quality Street”, the scenery, costumes and appointments used at the Vaudeville Theatre are being brought out.

On his arrival in Perth in March 1905, Robert Brough met with a representative of The West Australian. Commenting on the company’s repertoire of four plays, he offered the following observation:

“Then we have another play by J.M. Barrie, ‘Quality Street’, a most dainty little drama. Perhaps if I were to analyse my opinion, I should say that ‘Quality Street’ is my favourite of the four plays I have mentioned. The dresses, the mounting, the story itself all combine to make a perfect little drama.”

The West Australian (Perth), 31 March 1905, p.3

In due course, the Brough-Flemming tour was launched in Perth on 22 April 1905, commencing with Beauty and the Barge, for the first time in Australia. Unfortunately, on the Friday before, Robert Brough was taken ill. A report in The Daily News (22 April 1905, p.1) informed playgoers:

It will be heard with much regret that Mr. Robert Brough is seriously indisposed, and his medical advisers absolutely forbid him to appear at His Majesty’s Theatre this evening. Mr. Brough was at the theatre all day yesterday, but during the evening was seized with sudden indisposition which rendered it necessary for him to be removed to his hotel. … It is sincerely hoped that Mr. Brough will be sufficiently recovered to make his appearance early next week.

By Tuesday newspapers were reporting that Brough was suffering from “haemorrhage of the lungs”.

As a result, Brough’s role of Captain Barley was taken by with Edgar Payne with Herbert Flemming taking on Payne’s role of Major Smedley. Opening night was something of a struggle and though the audience applauded enthusiastically, “many passages had to be omitted and the company was at a serious disadvantage”. Brough was absent for the remainder of the Perth season when The Walls of Jericho and Little Mary were presented for the first time in Australia. Short seasons followed in Fremantle and Kalgoorlie, and when the company returned to Perth on 29 May, Brough was sufficiently recovered to perform in the short revival season.

Quality Street was not presented in Perth.

Winifred Fraser as Phoebe Throssel. Photo by Johnstone, O’Shannessy & Co., Falk Studios, Melbourne

Elisabeth Kumm collection

Beatrice Day as Susan Throssel. Photo by Alice Mills Studio, Melbourne

Elisabeth Kumm collection

The Barrie comedy eventually received its Australian premiere at the Theatre Royal in Adelaide. Having commenced their Adelaide season on 13 June with Beauty and the Barge and The Walls of Jericho; Quality Street was performed for the first time on 1 July 1905.

The full cast for Quality Street was:

* Role also performed by Norman McKeown

The Reviews

J.M. Barrie needs no introduction to Australians, because as a novelist and playwright he has long since captured their hearts. Adelaideans have already had the pleasure of witnessing “The Professor’s Love Story” and “The Little Minster, but in “Quality Street” Mr. Barrie has excelled himself. The piece is redolent with all the author’s irresistible characteristics, the pure and fragrant atmosphere, the quaint and mirth-provoking humour, and the charming and loveable characters, but beyond all these it contains an undeniable something which hits the public. On Saturday night the theatre was crowded to the doors, many were turned away, and it was simply wonderful how the interest was sustained right up to the last moment. The people all over the house laughed heartily—in some instances they laughed so immoderately that it might have been farcical comedy they were witnessing, and during the pathetic touches the contrast was so compete that one could have heard a pin drop. There was not the slightest suspicion it was a first night, the artists showed a remarkably fine appreciation for their respective parts, the delicious atmosphere of the piece was never lost for one instant, and altogether “Quality Street” may be described as a great and popular success. Exceptional credit is due to Mr. Brough for his splendid stage management of “Quality Street”. Every little detail which could in any way contribute to the success of the production was thoroughly attended to. The beautiful scenery, the quaint and fascinating costumes, and the complete accessories, all from the Vaudeville Theatre, London, could not have been excelled. Adelaide theatregoers had the opportunity of seeing “Quality Street” as it was presented in London, and by their enthusiasms they showed how thoroughly they appreciated Messrs. Brough & Flemming’s enterprise.

After providing an extensive outline of the plot, the reviewer went on to comment on the performances:

Mr. Brough’s performance throughout was consistent, refined and artistic. The characters of Lady Alethea [in The Walls of Jericho] and Miss Susan Throssell are as far apart as the poles, and yet Miss Beatrice Day stepped out of the one part and into the other in a manner that stamps her a first-class artist. There was no suggestion on acting; Miss Day was the dear, delightful old maid who had a love story of her own, and who had a wonderful regard and affection for her younger sister. Miss Day’s performance was complete in every particular. It would be impossible to too highly praise Miss Winifred Fraser for her impersonation of Miss Phoebe Throssell. The clever little lady realized J.M. Barrie’s dainty and delightful creation to the finger tips. It is without a doubt one of the most real and happy contributions of the whole season. Miss Fraser has the sanguine high-strung artistic temperament, and her touches of pathos go right to the heart. She was the sweet, dear, lovable game little Phoebe who would win the heart of any one. All the moods of the character were presented with a spontaneity which was thoroughly convincing. Miss Winifred Fraser will long be remembered in Adelaide for her performance of “Miss Phoebe of the ringlets”. Miss Emma Temple was admirably cast as Miss Willoughby. Miss Bessie Major was simply immense as the good-natured, self-satisfied Patty. Her performance was responsible for roars of healthy laughter. Every one of her lines hit right home. Mr. Carter Pickford made a capital Ensign Blades, and Mr. Philip Leslie was seen to advantage as Lieut. Spicer.

The Register (Adelaide), 3 July 1905, p.3

Another review in The Advertiser (3 July 1905, p11) was equally complimentary of the production, and also provided a slightly more detailed appraisal of Robert Brough’s performance:

Mr. Brough’s personal opportunities are not so great as in “Beauty and the Barge”. Valentine Brown is one of the best fellows in the world, but he is not striking, as Captain Barley is. Nor does the part offer Mr. Brough the same scope on the emotional side as he had in “The Walls of Jericho”. He succeeds, notwithstanding, in portraying a most lovable, big-hearted Englishman. The character is a quiet, restrained one, and not particularly dramatic. Mr. Barrie leaves a good deal to the imagination, and Mr. Brough may be complimented on the way he makes one feel the deep current of tenderness and affection that flows beneath the outward bonhomie of Valentine Brown.

Due to the brevity of the season, and the desire to provide Mrs. Brough with the opportunity to appear before the Adelaide audience, Quality Street was withdrawn after just four performances.

The play was duly performed at the Princess Theatre in Melbourne, 12–24 August 1905.

Robert Brough, late manager of the Brough-Flemming Comedy Company

Elisabeth Kumm collection

Edgar Payne, leading actor with the Brough-Flemming Comedy Company

National Library of Australia, Canberra

Unfortunately for Robert Brough, his illness returned two days before the end of the Melbourne season and for the final nights, his role of Valentine Brown was played by Norman McKeown. However, he rallied when the company embarked on their tour of New Zealand and was still in good form when the play was given its Sydney premiere at the Criterion on 3 February 1906. One week into the season, Brough was advised by his doctor to rest, and once again Norman McKeown was called on to take over as Valentine for the final week. Sadly, Brough’s condition did not improve and on 16 February, he and his wife left Sydney for Blackheath in the Blue Mountains, so that Brough could take the mountain air. By early March they had returned to Sydney, hopeful that Brough was sufficiently recovered to appear in the first Sydney production of Little Mary. Thus, on 10 March, Brough returned to the stage in the role of the Earl of Carlton. Alas less than a week into the run, his old ailment returned, and he was forced to relinquish the role to Edgar Payne. Brough was admitted to “Omrah” private hospital in Darlinghurst Road, but his condition did not improve, and on 21 April, newspapers announced his demise. He was just 50. The cause of death was said to be “vascular disease of the heart”.

With Brough gone, it was up to Herbert Flemming to keep the company going. And Quality Street remained one of the most popular pieces in the current repertoire and received brief revivals when the company played return seasons in Melbourne and Adelaide. From 31 July to 3 August 1906, it was performed for the first time in Perth, and for a single night, 22 October 1906, in Hobart.

It received its final staging by the current company at the Palace Theatre in Sydney, 15–17 May 1907.

Postscript

In an article published in The Gadfly (4 July 1906, p.21), Herbert Flemming spoke with journalist Beaumont Smith about his late partner Robert Brough:

MY PARTNER

Herbert Flemming speaks of Robert Brough

THE conversation turned to Robert Brough, naturally. What had Herbert Flemming, his partner, to say of the Master Actor who had gone? This partner, friend, and admirer was silent for a long time.

“I only wish I could speak as I feel about him,” he said quietly. “ . . . He was very dear to the public, but ten times dearer to those who worked with him behind the curtain. The public knew him as an actor; we knew him to be great as an actor and a man. Those who claimed him as a friend knew the real meaning of friendship. His nature was unselfish and generous to a degree.

“There is no one in London who could teach Robert Brough anything in the art of stagecraft, and there were few he could not teach. The thoroughness of the man told. I consider his production of ‘Quality Street’ about the finest I’ve seen. I saw the first performance of it in Adelaide last year unknown to Brough. I had been ill in the West and came to Adelaide unexpectedly, arriving just in time for the opening act. He had got the atmosphere of the period marvellously. The play, to me, was an artistic treat, and then, as ever since, it strangely moved me. I had intended waiting till the final curtain before I went behind; but at the second interval I had to go and shake my partner by the hand, and congratulate him.

“No, he left practically nothing. He lived for two things—his wife and his art. No man and wife were more devoted. He cared nothing for wealth—Art before everything except his wife. He has raised a monument for himself in Australia, a name that shall be put down in the history of this land; for even though he was an Englishman all his notable work was done here in Australia and for the Australian stage. . . . ”

Sadly, less than two years later, Herbert Flemming would also die. During this present tour, Flemming, like Brough had been in poor health. When he died in October 1908, he was said to have been suffering from Brights Disease. He was 52.