THEATRICALS AT GULGONG.
[BY PAUL TWYFORD].
In your "Scissors and Paste" column of last issue of the GAZETTE, you refer to the Holloways, Darrells and others "playing at Gulgong for months at a stretch." In this you are quite right; but if you intended your par as a reproach to your townsmen—who, generally, do not care for the drama—the difference, not only in the population, but the conditions of the two towns must be considered. Windsor is a quiet place; its people are slow and cash is not so freely distributed as one would like to see it. At Gulgong the conditions were just the reverse. There was a large population generally estimated at 20,000; the people were excitable, energetic and fond of change, while the dispersion of cash was free and equitable. As you have mentioned the Darrells and Holloways—and poor Maggie Oliver, who has just left us for That bourne from which no one has yet returned, —You will, perhaps, permit me to inflict upon your readers — some of whom, I have no doubt, are not unacquainted with our premier gold-field — a few reminiscences of the golden, and highly effervescing, days of 1870-71-72 and 73 — which years I spent in some portion of the big gold-field.
I happened to be personally acquainted with most of the "profession" in Gulgong, for the reason that I was not only a miner, but a regular contributor to the local press — and between journalists and actors there is invariably a strong fellow-feeling — inasmuch as both are inclined to Bohemianism.
Occasionally you drop across an actor who is also a villian — really, I mean — for you know A man may smile and smile, and be a villian not only on the stage but in the newspaper-office — and sometimes in the latter they are not merely Iagos but Judas Iscariots. But old Ned Holloway, Carey, Harry Power, Douglas, Alick Thompson, Bill Holloway, old Jemmy Hasker nor George Darrell were none of these.
"Played there for months at a stretch," eh? Why, they played all the year round without an interval, just as they do in Sydney. Joey Gougenheim (Mrs. Constable) way one of the earliest lessees of Cogdon's Theatre Royal; and she had a capital company consisting of herself, Lizzie Morgan, Madame Roland, W. G. Carey, W. H. Holloway, J. N. Douglas, Jemmy Hasker, J. J. Welsh, and other smaller fry; and the way the plays were mounted would do credit to any large city. Burlesques and pantomimes were quite equal to any I saw in Sydney in those years — though, of course, not quite up now. Maggie Oliver was also playing with Miss Gougenheim for some time, and was as popular there as she was at Forbes some ten or twelve years earlier; all the old diggers knew her, and she received a perfect ovation whenever she appeared before the footlights, either as Margery in the "Rough Diamond" or Miami in the "Green Bushes" — her favourite characters. Later on, the Royal was leased by Messrs Edmund Holloway and Harry Power — Miss Joey having retired into private life after quite an exciting finale — when she and Lizzie Morgan were nearly having a pitched battle on the stage. Jealousy was the cause. Joey had been a popular favourite so long that she could not brook a rival — and Lizzie, though by no means a brilliant actress, was a very nice girl and stood well in the estimation of the public.
With Messrs Holloway and Power were Carey, Douglas, Alick Thompson, Dumar, Charley Brown and two or three others. Mrs. Holloway was leading-body; Lizzie Morgan was with her for a time — and then Lizzie Dixon and Amy Chambers both of whom were excellent dancers. There were change actors, of course, including a Miss Mildmay, and occasionally, the amateurs, among whom was Old McDonald, father of C. McDonald, late of Windsor, and now of Charters Towers. That company of amateurs was the best I have ever seen. Then, when the Home Rule and Canadian were in full swing, and things brighter than ever, came the Darrells. George Darrell was fairly well-received, but his wife known to old miners as Miss Fanny Cathcart and then Mrs. Robert Heir, took the place by storm. She was idiolized. I remember well her excellent acting in Camille, Leah, East Lynne, Man and Wife, Lucretia Borgia, and in whole hosts of Shakesperian plays. They had a splendid run of some five or six weeks — occasionally giving the Home Rulers a turn at Sawbridge's theatre — where there was a regular company of very fair actors.
Besides Cogdon's theatre, there was Ward's — a larger building even than the other, though by no moans so replete with stage accessories. Sometimes Allan Cameron — an old Grenfell man, and who had the celebrated Crystal Fountain in Herbert-street — and his clever little son would perform there; and "Joey" herself would sometimes condescend to play with them for some charitable purpose. While the Darrells "held the fort" at Cogdon's, Miss Alice May and her Opera Company came to town, and was billed for "The Grand Duchesse", "La Traviata," "II Trovotore," and other operas. But the opening night was a frost, for there were only six persons for an audience, notwithstanding such talent as Farley, Vernon, and Temple, and Miss Alice May's husband (I really forget his name), who was a splendid pianist. The second and third nights were a little better; but it was quite evident that opera had no hold upon the diggers—not while Miss Darrell was in evidence, at any rate—and Miss Alice had to seek for further laurels on "fresh fields and pastures new."
Some time after this a West Indian tragedian, named Morton Travares, played with considerable success at Ward's Theatre as Othello, Iago and other Shakesperian characters, as well as in modern drama. The fact is, the drama was as fixed an institution in Gulgong as either of the churches or public-houses, and with reason. The miners argued thus: "Here we are bachelors — or at any rate, temporarily divorced from our wives — and for a shilling or two each night we get good amusement, shelter from the cold streets, and are away from the temptations of the billiard-saloons and public-houses. When the play is over, we walk a mile or two to our camps, and turn in warm, sober, and contented." The theatre, in their opinion, was both moral and economical. And they were in the right. Personally, I frequently walked three miles from my claim on the Old Gulgong Reef to hear Mr. and Mrs. Braham (Lizzie Watson, who came to the colony with Harry Rickards) sing.
This was a long time after the Darrells', for then I was located in the township — in Medley-street, nearly opposite the "Argus" Office, when George Lang (son of the famous John Dunmore Lang, D.D.) was editor, and John H. Stormer proprietor. Nor were these two theatres the only places of amusement, for down the Black Lead and in Herbert-street were several singing houses — or more properly speaking, cafes chantant, — where one could eat and drink, hear some good singing, and be waited on by very pretty demoiselles in fancy costumes. What with these, some twenty billiard-saloons, from thirty to forty pubs, and no end of sly grog-shops — of which the least said the better — though "Rolf Boldrewood," while acting as cicerone to the late Anthony Trollope, did not think it INFRA DIG to introduce his guest behind the red-curtain which divided the small fruit shop facing the street from the inner sanctum at the rear — where, I presume, the grog was drunk, and — well, there was plenty of diversion for those who had the money to spend.
COGDON'S THEATRE
John Hart Cogden, a member of a band of minstrels, was one of the many people who flocked to the new goldfield of Gulgong toward the end of 1970. Cogden had toured many of the diggings throughout NSW and Victoria and was well aware that there were plenty of riches to be had in the entertainment business rather than scratching around in the red clay soil for the elusive metal.
He purchased an allotment fronting Mayne Street, and erected a rough building of bark and poles known as Cogden's Assembly Room". The building also doubled for a time as the court house, where Thomas Browne, the local magistrate, would use the piano as his office desk to conduct his legal duties.
There were two other entertainment venues in town not more than a hundred yards apart. The London Music Hall, part of Binder's Star Hotel (now the Commonwealth Bank), and the Theatre Royal, at the rear of Ward's Turf Hotel, but neither was a true theatre such as Cogden's. The fact that Cogden's theatre was not part of a hotel certainly did not leave patrons on the dry side, as there were no less than eight other hotels within 60 yards.
With the breakup of his minstrel group, Cogden became Gulgong's entrepreneur and his Assembly Room was conducting a roaring business with nightly performances of visiting artists, some of world renown.
The attraction of artists to Gulgong, where they performed under primitive conditions, is inexplicable but nevertheless they came in droves. The conditions within the bark and pole monstrosity must have sent a shiver down their spine and that was not just from the cold winter winds that would rip through the cracks in the bark walls.
Rivalry between the three theatres to stage one of the best shows, and entertain throngs of miners that roamed the streets looking for somewhere to spend their new-found wealth, would eventually out the two hotel theatres out of business.
Josephine Gougenheim
During Cogden's association with this building, many famous people graced the stage. But it was probably his engagment to Josephine Gougenheim that put his Assembly Hall on the map and started a flood of great performers, singers, musicians and actors, and the theatre flourished.
Josephine Gougenheim ("Joey") and her sister Adelaide sailed for Australia in 1856 after their debut in London's Olympic Theatre and an American tour that took in Broadway, Philadelphia and California. They arrived in Melbourne and opened at the Princess Royal Theatre in May, 1875. Within one year the sisters were managing the Princess Royal. Five years later Joey had resumed her overseas career, then returned to Australia to manage Sydney's "Prince of Wales Opera House".
It was in late August 1871 that Josephine Gougenheim arrived in Gulgong to perform at Cogden's for three nights with her one woman show "Joey at Home". Her performance was a huge success, which made the actress aware of the potential of the goldfield. The success prompted her to hurry back to Sydney where she assembled a company, "The Star Dramatic Company", and headed back to Gulgong.
She managed to convince Cogden to rebuild the hall, install herself as manageress and change the name to "The Prince of Wales Opera House". Joey later retired into private life as Mrs Constable, living with her husband and childrenalong Barney's Reef Road. In retirement she occasionally took to the stage for charity performances. Joey and her family fled Gulgong during the typhoid scare of 1874.
Illustrious performers
The new building was regarded as"elegant adn commodious", 90 feet long and 35 feet wide, built of pine weatherboards and the new roof, of corrugated iron. Two shops occupied the frontage, the editor's office of the Gulgong Mercantile Advertiser and C Guigni, Watchmaker, Jeweller and Cigars.
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Maggie Oliver
There was a gala opening in December 1871 with a performance of "Woman in White", which starred Maggie Oliver, the Australian born actress immortalised by Henry Lawson in verse and prose. Maggie, who was 27 when she came to Gulgong, enthralled the diggers and left the stage in triumph after each performance. A benefit was held for her in February 1872, the biggest ever seen at the theatre. She performed in "Phoul a Dhoil", an Irish drama, which kept the audience continually cheering and applauding. When she left the town she was presented with expensive jewellery and it was said that diggers threw nuggets into her coach as it moved away.
In February 1872, Charles Frederick Young, an English born actor-comedian - who played a big part in early colonial theatre in Australia - performed at Gulgong. Before coming to Australia he had performed in London at "The Strand", "saddlers Wells, "Royal James" and "Royal Lyceum" theatres. He died in 1874 in Sydney.
Early in 1873, after returning from a tour of Japan, the Lynch Family Bellringers, or Campanologists, performed in the theatre. This troupe had been performing on stage for sixty years and appeared in Gulgong on numerous occasions.
Stage rivalry was nothing compared to the "shenanigans" of the politicians on the theatre platform. Well known politicians who spouted oratory were Hugo Beyers (MLA for Mudgee and partner of Bernard Holtermann), Henry Parkes and William Morris Hughes.
1. Marie Narelle went from the Prince of Wales stage to acclaim at Carnegie Hall in New York
2. Flautist John Lemmore shared the Prince of Wales stage with Marie Narelle
3. Dame Nellie Melba was still known as Mrs Armstrong when she performed in Gulgong.
The year 1874 saw more amusement, and more vaudeville, in the Sisters Duvalli dancing the Can Can. They were followed by Professor Melender with his "Arabian Box Mystery" which was a complete mystery to the audience,m and he was supported by the great Frank Lloyd. Frank Lloyd was Sydney born and later appeared in London, Rome, Paris and still later in flims with Errol Flynn, The flowering of opera in Australia was developed by two families, the Carandinis and the Simonsens, both with affiliations with nobility as well as possessing the noble gift of beautiful voices. In 1876, both performed at the Opera House. Melbourne had been the Mecca for the theatre world of the 1840s - Gulgong was the Mecca of the west in the 1870s. If you care to compare the population figures of Melbourne (before the Victorian Rush) and Gulgong at its peak, they are both around the 20,000 mark. Anyone of artistic standing therefore passed through portals of the Gulgong Opera House.
John Cogden sold the theatre in 1879 to a Roman, Domminico Rognini. Rognini was a well travelled man, beginning his sea life at the age of 11 and later serving with the British Navy during the Crimean War. He had sailed around the world three times before gold lured him to Victoria. He had some success during the rush at Palmer River which earned him enough to buy the Opera House.
Source: "Along the Cudgegong" by Barry Baldwin and Ruth Davis, reproduced in Mudgee Guardian, Monday November 12, 2012
NEWS ITEMS
1871 - Dramatic and Musical Review.
The arrangement of these scenes, with the hosts of figures, and "stirring" incidents, display an amount of ingenuity on the part of Mr. Thiodon that can be but rarely equalled. He has the head to conceive, and the hand and patience to execute the work.We now see "Niagara" looking very beautiful in the rays of moonlight. The amusing Scotch dwarfs, that perfect piece of mechanism the Rope-Vaulter, and the Storm at Sea with the escape from the wreck (but the waves are rather too short and quick), remain part of the present programme. The comic singing of Mr. Margetts is really amusing; the pieces that he gives us are such as may be sung in the company of ladies without causing either a blush or a feeling of disgust at ridiculous nonsense; and Mr. Margetts has a quiet, gentlemanly, and withal humorous, style of vocalization.
Source: Australian Town and Country Journal (Sydney, NSW : 1870 - 1919) Sat 8 Jul 1871 Page 9
1872 - THEATRICALS.Messrs. Charles Young and W. J. Holloway appeared at the Prince of Wales Opera House for the first time before a Gulgong audience, on Saturday evening. They were supported by the Star Dramatic Company including Misses Joey Gougenheim, Maggie Oliver, Morgan and Saunders; and Messrs. Flynn, Stewart, and others. 'All that glltters is not gold,' and the 'Young Widow,' were played with excellent effect to a large and fashionable audience; and the reception of the Stars was flattering, while they gave ample evidence of the title to the admiration they excited by their taste and elecution. The 'Light Brigade,' by Mr. Holloway, was grand, and proved that he had a full conception of the author's poem. At times the applause was deafening, nor was a fair proportion withheld from the other members of the Star Company. Again on Monday evening, the theatre was crammed, when the 'Lady of Lyons' was put upon the stage in a new style, never equalled in the colony out of the metropolis. Mr. Holloway as Claude; Mr. Young, as Dumas ; Mr. Flynn, as Beauseaut and Miss Joey, as Pauline. The accomplishments of these parties are so well-known and so generally appreciated, I need not state the audience were delighted. The wardrobe furniture, scenery, everything in fact, were of the highest order. The engagement promises to be a very successful one and fully deserved by the enterprising spirit manifested by the proprietory.
1872 - Amusements.At the Prince of Wales Opera House a variety of plays interspersed with songs and dances have been put upon the stage in a very creditable style. The manageress, Miss Joey Gougenheim, has been absent at Tambaroora, but ill during most of the time. She has returned, but an invalid confined to her room ever since. The leading parts have been taken by Mr. Holloway and Miss Morgan. The latter is wonderfully improved and has become a great favourite.The acting of Mr. Holloway is good. He possesses a good voice, fine person and address, and as a general thing has a correct conception of the character, he represents. Miss Saunders sings with much taste and is nightly encored. For the past fortnight she has taken interesting characters in the various plays and farces and acquitted herself creidtably. Last evening Madam Milthorpe and Miss Bennison had characters in 'Dred.' This was their first appearance, and the house was rarely full. They were received with much favour. Mr. Tom Lacy, a very popular comedian upon this Goldfields, assisted by Maggie Oliver, Mr. and Master Cameron and others, takes a benefit at Binder's Theatre. 'Nan, the Good for Nothing' is the feature, and from the well known ability of the actors they are sure to have a crowded house.
1872 - THIODON'S ENTERTAINMENTThose who repeat their visits to the Prince of Wales Theatre, to witness the strange and pleasing mechanical movements of Thiodon's Exhibition, do so, no doubt, with a view of trying to make out, if possible, how these things are done. We have, however, met with no one who has yet made a reasonable guess as to the rope vaulting of the beautiful, and beautifully dressed female figure, whose varied and graceful and seemingly daring evolutions on the slack rope amaze the beholder. If the figure thus presented to the gaze of the audience were plainly attached to the rope, some idea might be formed of an internal mechanical movement to produce the spinning, and some of the attitudes and positions of the automatic figure. But the hands which at first have easy hold of the swinging rope, release themselves, and they are stretched out right and left, and on one or two occasions, the figure throws itself, just as we have seen living slack rope vaulters do, from a sitting posture, as if dropping to the stage, but it arrests its own fall by seizing the rope with one hand, and after oscillating for a time regains, as if by a human spring, its former position. In like manner it stands upon its head whilst the rope is in motion, and performs many of the daring and graceful movements which one would expect from an acrobat of the first water. Not less surprising, yet much more amusing are the conversations, the witticisms, and the arch recriminations of the loving pair of clear speaking dwarfs. This part of the entertainment evoked the merriest possible laughter, and the pleasant 'good night' of the interesting and happy couple was received by the audience in demonstrative responses. The 'Mirror' as the panoramic views are called, is not nearly as much a misnomer, as some of the moving pictures we have seen exhibited in the town. The views are more highly finished, and a sufficient number of them is shown to impress us with the vast and rapid national and spirited progress of the United States. The choicest specimens of architecture as displayed in the public buildings of New York, Philadelphia, Harrer's Ferry, Baltimore, and Washington, are placed before the audience under lights which bring out the perspective of the scenes most finely.
The 'Falls of Niagara' form the closing view of the 'Mirror.' The interest of the whole is very pleasingly increased by Mademoiselle Thiodon who presides at the piano, throughout the evening. The airs, and in some instances the apparent impromptu accompaniments, are executed with the nicest taste, and from their suitableness to the passing scenes give an effect which must be seen and heard to be appreciated. Mr. Lewis, the lecturer fills his position with as much credit as any gentleman we have previously heard, to whom similar duties have been assigned. The freshest witticisms, many of them original, accompanied with the most intelligently conceived local allusions, seem as if they were there and then the lecturer's own impromptu conceptions. A number of sparkling anecdotes a la Yankee are interspersed, altogether rendering the entertainment innocent, respectable, and effective.
Posters outside the Prince of Wales Theatre, Gulgong, 1872
"Thiodon's Beautiful Exhibition - Thiodon's Visit to Niagara"and Opera House - Grand Gala Night - Thursday July 4 - Gulgong Hospital Programme - The Gulgong Minstrel.
1873 - GULGONG HOSPITAL BENEFIT.At the Royal Shamrock Theatre which was kindly placed by the proprietor, Mr, Sawbridge, at the disposal of the committee gratuitously, the Gulgong minstrels, consisting of Messrs, Cameron, Sayers, Cogden, Scurrah, H. Woods, T. Woods, Billynuts, and Master Cameron gave an entertainment on behalf of the funds of the Hospital. The house was well filled on the occasion, and everything passed off in a creditable manner. Upwards of £24, after defraying the expenses of printing, &c, was handed over to the institution. The Home Rulers proposes shortly following suit by giving an entertainment for the same good cause.
C. Giugni, watchmaker & jeweller in Cogdon's Prince of Wales Theatre, Gulgong
Click here to see zoomable image
1875 - Mr Byers this gentleman, whom it will be remembered gave some performances at the Prince of Wales Theatre about a year ago, has signified his intention of again visiting Gulgong with ‘something new.’
Source: Gulgong Evening Argus, Saturday, 9 January 1875
1875 - The Panorama of the Franco-Prussian [Thiodon, above] was exhibited for the last time at the Prince of Wales Theatre on Thursday evening. The frequent plaudits of the audience testified their appreciation of the panorama, lecture and music which together proved an agreeable evenings amusement. Last evening they played at the Home Rule, before going on to Mudgee.
Source: Gulgong Evening Argus, Saturday, 20 January 18751875 - We Don’t Believe It
1875 - The Prince of Wales Theatre
1875 - Prince of Wales Theatre
1875 - Prince of Wales Theatre
Rumour is always saying something and as often tell lies as the truth. The last yarn is that the block of ground on which is erected the Prince of Wales Theatre—which Mr Cogdon applied for but unfortunately omitted to forward payment in time—it so be sold by auction at the Government Land Sale at Mudgee on the 26 instant. So far the rumour is correct [the land is advertised for sale] but not satisfied with this much, it must also state that on of our millionaires intends taking advantage of Mr Cogdon’s awkward predicament and buying the allotment whatever price it fetches. We say we don’t believe it, and it fact feel sure that the respect in which Mr Cogdon is held will be regarded, and if the land is offered for auction a friend deputed to purchase it for him will be allowed to do so. We think if a proper representation of the case is made to the Lands Office and the apprised value tendered with the ten per cent added the land would be withdrawn; but failing this we do not think anyone will attempt to buy it except those deputed to do so by Mr Cogdon, who is unfortunately some 2 to 3 hundred miles from Gulgong.
Source: Gulgong Evening Argus, Saturday, February 13 18751875 - The Prince of Wales Theatre
A performance will take place at the Theatre of Tuesday evening for the benefit of the Gulgong Band. Several amateurs and professionals will appear and we trust that the entertainment may be a successful one.
Source: Gulgong Evening Argus, Saturday, February 13 18751875 - Prince of Wales Theatre
The performance in aid of the Gulgong Band has been postponed because of the inclemency of the weather.
Source: Gulgong Evening Argus, Saturday, February 16 18751875 - Prince of Wales Theatre
The benefit held for the Gulgong Band, was poorly attended owing to the weather. All present left well satisfied with the performance and the Gulgong Band played well throughout.
Source: Gulgong Evening Argus, Saturday, February 20 18751875 - The Lands Office
Some queer proceedings take place at the Lands Office sometimes. For instance the other day a Gulgong allotment of land was gazetted for sale by auction at Mudgee and after being gazetted, it had to be withdrawn, simply because the owner held a document from the Lands Department stating that as the money had been received no time would be lost in preparing and forwarding the deed. This was dated March 29 1874 and yet in February it is advertised for sale and the owner, who was 200 miles away from Gulgong had to return home post haste to prevent his property being sacrificed. After putting him to a lot of expense the land is withdrawn. [This is the Prince of Wales Theatre]
Source: Gulgong Evening Argus, Saturday, February 27 1875
1899 - MR. EDMUND HOLLOWAY.
(To the Editor.)... Later on, in 1872-3, I saw Mr. Holloway in Gulgong, where he, in partnership with Harry Power, ran the show at Johnny Cogdon's Prince of Wales Theatre.
It is certainly singular that Mr. Holloway never once mentions his Gulgong experience—the biggest, I should say, he ever had as actor-manager; nor does he mention his wife, who was a favorite with the older diggers, who had known her elsewhere. Mr. Holloway might have recounted a few pleasing incidents of his Gulgong experiences—and they would have made better reading than his somewhat apocryphal yarns about bushrangers. It is curious how old actors will romance about the 'gentlemen of the road.' I could write some funny things thereanmt, but, refrain. Anyway, Mr. Holloway succeeded 'Joey' Gougenheim as joint lessee of the Prince of Wales, Gulgong, and they did some good biz. -there. They had a capital company, including G. Carey, W. H. Holloway, H. N. Douglas, Newton, Charlie Brown, Alex. Thompson, Amy Chambers, Lizzie Dixon—and for some weeks Mr. and Mrs. Darrell, who were considered stars, and during their engagement crowded houses ruled. One Christmas the lessees staged a capital pantomime, and among the actors were old Johnny Hasker and his ancient friend, J. J. Walsh. Carey was harlequin, I remember, and a good one, too. The drop scene (painted by a local artisit) was an advertising sheet, and superior to any thing I have ever seen in Sydney. It was during the Holloway-Power leaseeship that Miss Alice May appeared in opera, with Vernon and others, at Ward's, Theatre, but the Darrells were the attraction, and 'Il Trovatore' was played to some six or seven persons, myself being one. The two nights following were nearly as bad, and then Miss Alice departed from Gulgong in great wrath.
In those days Gulgong possessed a capital amateur company, of which Mr. Holloway might have written, for he knew them all—especially Cam. Baker, well known at Forbes. There were also Honor, Allurm, M'Diarmid, bank clerks; Donaldson, C.P.S.; Charley Bird, chemist; and some others. Alex. Cameron and his little son, Allan, used frequently to appear on the boards, and were very popular. I have seen Allan (now Mayor of Mudgee) picking up the coin as they threw it on the stage for fullytwenty minutes. It was a hospital benefit and 'Joey' assisted thereat.
Messrs. Holloway and Power must have run the Prince of Wales for over twelve months, and hence the lapsus strikes one as extraordinary, seeing that Mr. Holloways' memory carries him back to a much remoter period.
