Stars of ther Days

Sun (Auckland), Volume I, Issue 288, 25 February 1928, Page 17

Stars of ther Days

Garrison Troops Provide First Dramatic Performances — “Professor ” Belew and the “Grand Diorama ” A Procession of Famous Stage Celebrities.

CP $ - Cllbum

>Written for THE SUN by

lAN D. COSTER

) ~ IGHTY years ago » IteM' the first New Zealanders were far too busy playing S-,'y their own stark yCSjI drama to bother about makebelieve. From these premises, one maiy gather, by simple syllogism that on some famous day Auckland looked out from its fern and flax bushes to see the posters of the first imported “show.” But it would require the combined memories of the remaining pioneers and a modification of the art of an Australian aborigine to track down the fact and the date, so that with modest pride one might write in the first paragraph: “The first dramatic performance in this city, I have discovered after spending the greater part of my life in the search, was given on such-and-such a day.” Though qualifications, industry and time are slightly less than those stipulated, they have sufficed to do some exploring of the records of Auckland’s dramatic history. The military men seem to have made one cf the first attempts to brighten the budding town with a theatre and as early as 1552 there is a record of them having produced “Fidelio” and “The Rendezvous” at the Albert Barracks. This “military theatre” produced its playlets fairly regularly and there were few counterattractions in the fifties, though the "San Francisco Minstrels” were booked at the Mechanics Institute about 1861. The first number of an Auckland paper of November 13, 1863, contains the following “Important Notice”:“The original and world-famed Christy’s Mir.strels, organised 1842, from 472 Broadway, New York, Her Majesty’s Theatre, London, the St. James’s Theatre, London, the Polygraphic Hall, London, are expected to arrive in Auckland early in November from the South, and will appear for a limited season at the Brunswick Music Hall.”

The minstrels evidently failed to fill their engagement that year. These were troublous times. The same edition of the paper contains the official proclamation that “until further notice the whole coast between Maraitai Point and Kauaeranga will be strictly blockaded, and all vessels whether belonging to Europeans or Natives, which shall be found carrying arms, powder or warlike stores will be seized and the persons on board detained in custody.” Here, as well, is the account of the embarkation of the Thames expedition on H.M.S. Miranda, 15 guns, and despatches from Drury about “The Native Rebellion.” From elsewhere came the rumours of war; the Russians were quelling an insurrection of the Poles, the use of “Greek Fire” in the shelling of Charleston was agitating the American civil war-wagers, and there was a rising in the Punjab. Auckland’s Lament Auckland chronicled these happenings alongside advertisements for “crinolines, latest fashion,” and lamented the absence of “the innocent joy” of the theatre. There was little of “kill joy” pietism about these pioneers; they considered the theatre not as an instrument of Beelzebub, but as a lifeboat for the city’s morality. This is how the newspaper of the time calls a spade a spade on January 2, 1564, after noting that “Miss Aitken, Mr. Shields, Miss Annie Merton, Mr. W. H. Newton and six others” had gone to Christchurch to open a new theatre: —“When will Auckland be able to support a theatre and a company of her own? We do not believe that there is a single town in the Australian colonies, having the same amount of population as ourselves that has not its respectable well-managed theatre.” “In the lack of innocent public amusement,” says the writer. “The bar and worse places become the centre of attraction with what fearful results, our police courts and other means of evidence daily show. Our youth are growing up untouched and unhumanised by the delineation in its most effective form the great moralinculcating lessons of the drama!” On the strength of this one may be tempted to revise one’s estimate of the movies. But the city had not been entirely lost to barbarity. The St. Patrick’s Hall Recitation Class —historic association—had the art of culture in its keeping and had “got up some excellent rehearsals of light comedy.” With all due deference to these crusaders, the newspaper begs again to lament the absence of professional fare. “We feel sure" (it says) “that these young men will not feel aggrieved if we say that there is still a vacuum to be filled up.” And from this distance we feel sure that these eminently sensible young men gravely and courteously agreed. However the appeal did not bear fruit immediately and the only counter attractions to the magnets already mentioned by the newspaper, for the next few months were the thrill of Mr. George Cook’s “astounding experiments in chemistry” at the Brunswick Hall and the Bellerophonic feats with vicious horses of “Professor” Belew of U.S.A., who successfully “tried his power” and tamed unbroken colts. Still in March came t_m amazing “Grand Moving Diorama” of Australian exploration, “beautifully painted and occupying 2.500 feet of canvas," and featuring “the death of Burke, Wills and Gray by starvation in the deserts of the interior of Australia.” The Dramatic Dawn Dramatic dawn was at hand. From the Prince of Wales Theatre, Sydney,

came a company of four —Mr. C. W r . Barry, actor-manager; Miss Fanny Young, leading lady; Miss Maggie Griffiths, Miss Corcoran and Mr. G. W. Daniels, with “the recent dramas which have attracted so much attention”—“Aurora Floyd,” “Lady Audley’s Secret,” and “The Ticket of Leave

FASHION'S IMPERIOUS DECREE. —As it evinced itself in 1900. Florence Young, the queen of light opera, who appeared in countless Williamson productions, displays a “natty” race gown with hat to match. Man.” Commenting on Auckland’s good fortune at the sailing of the expedition the “Sydney Empire” says: "Possessing advantages equally with the other Australian colonies and a population capable of appreciating the higher walks of the drama as something more than a mere source of amusement, they (Aucklanders) have hitherto lacked the opportunities that have become —here and elsewhere —a social necessity. Mr. Barry makes a bold experiment and it remains with the people of Auckland to determine whether they may enjoy a succession of dramatic and operatic celebrities.” Finally came the epoch-making announcement that Mr. Barry, stage manager of the Opera House, Sydney, and “director of the private theatricals at Government House,” in conjunction with G. W. Daniels of the “principal colonial theatres” would open their season. The Brunswick Hall would be “tastefully fitted up with scenery from the pencil of Herr Harbe, the celebrated scenic artist.” In a column sub-leader the Auckland newspaper solemnly considers the approaching sensation; regrets that there is no theatre worthy; hopes that it will cause the tap room to be less frequented, the town less boisterous, and the police magistrate less busy; suggests that £6,000 be raised to build a proper theatre, and finishes with a magnificent appeal to the players themselves: “Let them jecome oracles and preachers of social regeneration to the lowly and untaught, and let their motto be: Suoni la Tromba!”

On the great night the Brunswick Hall (on the site of the present Brunswick Buildings), rechristened the Prince of Wales Theatre, was “transformed by the magic wand of Messrs. Barry and Daniels into a temple worthy of Thespis herself” (sic.). Tobin’s “Honeymoon” was presented to a crammed house and we are told

that Miss Fanny Y'oung was “a shrew to the very life,” and the acting of Mr. Barry (as the Duke) was “characterised by a calm gentleman-like bearing so unusual to the style which has hithertofore been presented to the Auckland public!” The long review of the next day damns the pieces fairly

AN EMPRESS FROM AMERICA —Minnie Tittell Brune, American actress, who eyijoyed a “succes fou/’ in Australia and New Zealand. She is here seen as the Empress Theodora. Her other roles included “Diana of Dobson's,” Juliet, “Peter Pan” and “Sunday.” strongly and comments that, in the “Dead Shot,” Mr. Daniels “was very amusing, but the notion. is too well worn out to afford room for a very brilliant success.” Miss Maggie Griffiths, we learn, was timid as an actres, but a delightful dancer of the hornpipe, and that the lead. Miss Young, sang with grace, “though her voice is thin and of small compass.” The critic’s main grievance seems to be against the “orchestra,” which, he estimates, consists of a violin and a piano. He failed entirely to distinguish what it was attempting to play. The Early Rivals Music or no music, the Prince of Wales players carried on, ruthlessly slicing roles which they could not cover among the four of them, and Auckland saw “Simpson and C 0.,” “The Good For Nothing,” “Ben Bolt,” “A Kiss in the Dark,” “Dick Turpin,” “The Cross of Gold.” Then, on April 22, this gallant band decided to celebrate “the ter-centenary anniversary of the immortal Shakespeare with “Othello” (“dance by Miss Julia Corcoran”), to conclude with the laughable farce, “Your Life’s in Danger.” Meanwhile opposition had started at the Oddfellows* Hall, where “the inimitable Thatcher, supported by Madame Vitelli, J. Small and A. Oakley, were doing a good trade with local burlesques, songs and patter. Despite this and the attraction of the “Swiss Bearded Lady,” the Barry people, reinforced by C. H. Selwyn. produced “The Ticket of Leave Man.” Sheridan Knowles’s “The Hunchback,” “The Jacobite,” and “Harold Hawk, or the Convict’s Revenge,” interspersing the drama with song and dance. Bonnets Disallowed Then the Oddfellows’ Hall underwent a metamorphosis and became the Theatre Royal. The management announced, “The stalls are cushioned and will be kept strictly select; to this end no bonnets will be allowed to be worn!” Mr. George Fawcett, who afterwards made a name for himself in London as “Micawber,” brought John Dunn, Tom Fawcett, J. T. Towers, J. Manly and Misses Marian Dunn, Eliza Bryal and Kate Grant

with him to start a long season on September 2, 1564, with “Used Up,” “The Family Failing,” “Doing for the Best,’ as well as “screaming farces” of the “Slasher and Crasher” type. By way of opposition, the Prince of Wales people did “Macbeth” and it is worthy of note that “the witch scene was assisted by the able voice and acting of the shipping editor of the ‘Southern Cross,’ who took the part of the second murderer.” It was followed by the burlesque “Rumtifoozle,” evidently to put the audience in a good humour again. The Theatre Royal came back, under the management of Mr. S. Rowe, with “The Ticket of Leave Man” and “Eugene Aram.” The Prince announced the “first dramatic star ever engaged in Auckland, J. H. Allen, of U.5.A.,” but the Royal obtained “the talented tragedienne,” Eloise Junot, and a command performance of the opera “Rob Roy,” under the patronage of Sir George Grey. It followed this up with “The Rivals” and “The Cricket on the Hearth.” Before this annus mirabiXis was out, Lyster’s Grand Opera Company, with Lucy Escott, Rosalie Durand, Georgia Hodson, Ada King, Henry Squires, E. A. Beaumont, Frank Trevor, Henry Wharton, J. C. Kitts and Fred Lyster, had begun at the Prince’s. The season was hailed as a "sign and symbol that Auckland’s wealth and refinement had gone abroad over the world!” Mozart, Verdi, Rossini, Bellini, Meyerbeer and Gounod were on the bill, and, of course, Wallace’s “Maritana.”

The operas were followed at the Prince’s next year by Daniel’s company, reinforced by Miss Cleveland in “Leah,” while Fawcett obtained Mr. and Mrs. Charles Dillon and gave “Balpliegor,” “Hamlet” and “Macbeth.”

Procession of the Famous Auckland’with Grace Palo'ul And now I have not left myself and to give us “A Bachelor's Honeyroom enough to do justice to the pro- moon,” "The Man From Mexico,” “The cession of the famous stage people of Fencing Master,” and many other enthe last sixty odd years. The excuse joyable comedies.

must be that the earliest days are the most interesting in themselves, considered apart from the fame of the actors. Probably the most famous actor of the first period of our history was Mr. “Billy” Hoskins, who, with Florence Colville, was superb in high comedy and costume plays. He was the mentor of Sir Henry Irving and theatregoers of the period still remember him as “the greatest of them all.” In

A POLLARD FAVOURITE—Gerti Camplan, now resident in Auckland, was one of the most popular of the Pollard stars in the days when that famous combination delighted New Zealanders. This is a recent photograph. the ”70’s also appeared Johnny Hall, a splendid comedian who was a great success at the Thames goldfields in broad farce and as Captain Ginger in “Our Girls.” Charles Matthews, noted English comedian, played here about this time, and Walter Montgomery gave of his best in Shakespeare. George Rignolds produced “In the Ranks” and “Alone,” in the ’eighties, and his “Henry V.” has gone down In history. Then in I'ghter vein came the Lingards, Horace and Alice, who were a thumping success in "Our Boys.” In the “Widow O’Brien,” about 1885, John F. Sheridan made his first appearance and his musical farce was a riot for the box office. He was closely followed by the great Shakespearean, W. E. Sheridan (who died in Sydney), with his wife, Louise Devonport. This company put on “Lear,” “Hamlet,” “The Merchant,” and “Richard III.” The father of H. B. Warner, of moving picture fame, Charles Warner, was also of this period and he produced “Hands Across the Sea.” Opera companies were brought across by Mon-tague-Turner and Martin Simonseu, who had with him Signor Riccardi and Signor Verdi. Fred Marshall made a name for himself as “Quilp.” One of the first Aucklanders to win fame on the boards was H. R. Roberts (born in Swanson Street), who later married Maggie Moore (Mrs. J. C. Williamson). Both are dead. When Harry Connor produced the “Trip to Chinatown,” Hugh J. Ward, one of the most prominent theatrical figures in Australia of recent years, made his first appearance in Auckland as the old Beau. Much

Opening of Opera House An event of great importance in ISS2 was the opening of the old Opera House by the firm of Williamson. Garner and Musgrove, with the comic opera, “Patience.” Howard Vernon was superb as Bunthorpe and Alice May excellent as Patience. In support were Riccardi Verdi and Andrea Novarro. Frank Cates was a good juvenile of the SO’s appearing in “Lights o’ London.” Maggie Knight, an Auckland girl, proved herself a capable comedienne. She married H. R. Jewett, who afterwards went to America and gained a considerable reputation. Australia’s own Nellie Stewart made many tours of the Dominion, first in “The Tambour Major,” later in “La Mascotte,” “M’am'seile Nitouche,” and, of course, in “Sweet Nell.” She was at first in New Zealand with her father’s company. There is still talk of the marvellous Shakespearean season of Louise Pomeroy and Arthur Elliott, which ran with a change every night for four weeks. As a producer of melodrama of the .old school, no one has ever touched the famous Bland Holt, who is still living in Melbourne. Walter Baker, Harris Ireland, Frances Ross and Robert Inman were with him. Then Walter Bentley, who died recently, had his triumphs as “Hamlet” and “Shylock” here. His finest part was said to be in “Cramond Brig.” George Darrell produced his own plays. "The Sunny South” and “The Naked Truth” in Auckland, and the incomparable Jennie Lee played her “Jo” from “Bleak House,” also in the 80’s. The first Brough-Boucicault season was a period-marker. The company included Robert Brough, George Titherage, Dion Boucicault (now playing in Australia), Cecil Warde and Mrs. Brough, the grand eld lady of our stage, and Emma Temple. Brough was probably at his best as the convict in “A Village Priest,” the priest being G. S. Titherage. Years previous to this, that queen of the British stage, Irene Vanbrugh, who was here with Dion Boucicault in “Aren’t We All?” a few years ago. came to New Zealand as a girl of 18 with J. L. Toole. In the latter 90’s Mrs. Brown Potter and Kryle Bellew played "Romeo and Juliet,” “As You 3Like It” and “La Tosca.” Then there was a succession of notable names—the Majeronis, Genevieve Ward, W. H. Vernon, Wybert Reeve, George C. Miln, Janet Achurch, Charles Carrington, George Leitch and Nance O’Neill. Sarah Bernhardt once landed here on her way to Australia and did some shooting at Tamaki, but she did not appear in Auckland professionally. Wilson Barrett toured this country with that melodrama of melodramas, “The Sign of the Cross,” and was supported by Lillah McCarthy, one of the most intellectual actresses in England to-day. The matinee idol, Cuyler Hastings, appeared here in “If I Were King” and “Sherlock Holmes,” and many fascinating eyes looked softly at him. He committed suicide, later, at a New York hotel. Minnie Tittell Brune was a successful “Theodora” and “Diana of Dobsons,” and one of the world's w'orst Juliets. She was an American who went to England and appeared with H. B. Irving. When last heard of, she was playing "Romance” in the provinces. A lady of several marriages was Ola Jane Humphreys, star of “The Virginian” and “The Squaw Man.” One of her husbands was Prince Hassan of Cairo. Fascinating little Violet Varley, to whom Sarah Bernhardt once flung a bouquet in Australia, in an ecstasy of admiration, was a great attraction with J.C.W.’s comic opera company of the early years of this century.

Pollard’s Operas

In comparatively modern times the late Mr. Tom Pollard, first with his juveniles and later with his opera company, became an institution, famous from one end of the land to the other. His productions became a training-ground for the histrionic talent of New Zealand. Among his discoveries were Miss May Beatty, said to be the finest of all the many “Belles of New York,” who married Edward Lauri, a nephew of the famous George. She went to England and appeared in London pantomime and musical comedy, supporting stars of the magnitude of Alice Delysia. She was back here with several musical comedies recently and is at present in New York. Her sister Maud ■was also a leading light. She is now married and living in South America. Marian Mitchell and Cissie Sanford, two Pollard stars, are married and living here, while Gerti Campion, another of them, is in business in Queen Street. His two best comedians were Harry Quealy, now in vaudeville in America, and W. S. Percy, who made London laugh in the war years, and who is still touring the provinces. Julius Knight became almost an institution, the best of his many leading ladies being the charming Maud Jeffries, who was married in Christchurch to an Australian squatter, Mr. James Osborne. She now lives in Australia and has a grown-up family. Another star of those days who settled in Australia was the fascinating Fanny Dango, Gaiety beauty, who played in the original “Merry Widow” production. A most interesting album kept by Miss Florence Robinson, of Parnell, has given us most of the photographs reproduced here.