Whilst wandering the streets of Melbourne, perhaps spare a moment, and a thought, for the beautiful hand-crafted buildings that once adorned the streets – and compare them to the architecture that has replaced them. It is a tragedy that allows such beauty and history to be demolished, and with it, the memory of our first pioneers who laboriously shaped this country less than two hundred years ago . . .
‘Queen’s Theatre’ aka ‘Queen’s Theatre Royal’ was built in 1845 by Melbourne City Councillor John Thomas Smith. Prior to the ‘Queen’s Theatre’, Melburnians endured a wooden structure as their entertainment venue, namedly, the ‘Royal Pavilion’ which opened on the 12th April 1841. It was located on the south side of Bourke Street, between Elizabeth & Swanston Streets, adjacent to the ‘Eagle Tavern’. The building was purported to have been of extremely poor quality with reports suggesting that the leaking roof forced patrons to don umbrellas should it rain during the show !!!
Needless to say, the licence of the ‘Pavilion’ was not renewed when it expired in 1843.
” . . . The 24th of April, 1845, beheld the last of the Pavilion as a theatre, and “the Ghost” walked there never more. Several subsequent attempts were made to obtain a license, but to no purpose. The name underwent a further change, for the place was styled the “Canterbury Hall,” where low class concerts, and an occasional pulpit meeting were held; but its doom was sealed, and in a short time it was pulled down, and Bourke Street knew it not again . . . “
Source: Excerpt – ‘The Chronicles of Early Melbourne – 1835 to 1851 – Vol I’ – by Garryowen – published 1888
In the May of 1843, Councillor JT Smith applied for a licence to build a new theatre. The licence was granted and building commenced:
” . . . The Queen Street Theatre
But though, to all intents and purposes, the existence of ” The Pavilion ” was an unmitigated evil, it established a belief that a theatre conducted with some claim to respectability, and sustained by even moderate ability, would obtain a remunerating ratio of encouragement. Indeed as early as the 11th May, 1843, I find Mr. John Thomas Smith, then the landlord of the Adelphi Hotel, in Little Flinders Street, turning his attention to theatrical speculations. On the 20th May he made formal application to the Melbourne Court of Petty Sessions for a certificate recommending the issue of a theatrical license to him, guaranteeing to have a building erected within four months, the materials to be of stone and brick, 40 feet by 75 feet, and capable of holding 800 persons. The application was granted ; but the question was hung up for some time, and it was not until the autumn of 1844 that Mr. Smith really set to work. The site selected for the edifice was a block of land at the south-west corner of Queen and Little Bourke Streets. Plans and specifications were prepared, and as the projector was in no want of cash, he decided upon annexing an hotel to the playhouse, a double speculation which he counted upon reimbursing him amply for what was then a considerable outlay. On the corner house being completed, it was called the St. John’s Tavern — an intended compliment to Freemasonry — was licensed and opened without delay. In the beginning of 1845 the new theatre was drawing to a finish, and would be ready to open on the coming 25th March, the first day of the races. Smith (having experienced no difficulty in procuring a renewal of the necessary authorization) had already opened negotiations with Mrs. Griffiths, an actress of some character in Sydney, and with the Coppins (Mr. and Mrs.) then said to be “starring” at Launceston. The theatre was a plain, substantial, brick, shingle-roofed building, with no attempt at exterior architectural ornamentation, and would hold about twelve hundred persons . . . “
Source: Excerpt – ‘The Chronicles of Early Melbourne – 1835 to 1851 – Vol I’ – by Garryowen – published 1888
The Opening Night at ‘Queen’s Theatre Royal’
The ‘Queen’s Theatre’ opened on Monday 21st April 1845:
George Selth Coppin (often referred to as the “father of Victorian theatre”) held a long association with the theatre:
” . . . and in 1845 he [Coppin] left Sydney in debt, and made his appearance in January of that year at Hobart. From thence he went on to Launceston, and being successful in both places be took a company to Melbourne, and made his first appearance in the dual capacity of actor and manager at the Queen’s . . . “
Source: Excerpt – The South Australian Advertiser – “Mr George S Coppin’ – published 5th November 1883
The Melbourne Debut or Mr & Mrs Coppin
21 Jun 1845 – Mr & Mrs Coppin at ‘Queen’s Theatre’:
” . . . MR. AND MRS. COPPIN’S DEBUT
Was indicated to the Melbournians by the following announcement :—
QUEEN’S THEATRE ROYAL, QUEEN STREET, MELBOURNE.
The Proprietor is happy to announce to his friends and the public generally, that he has entered into an arrangement with Mr. Coppin and the entire of his Corps Dramatique to Perform alternate nights with the present Company, for one month only, trusting the greatest combination of talent ever witnessed in any of the colonies will receive the patronage and support it will ever be his study to deserve.
ON SATURDAY EVENING, 21st JUNE, 1845.
The Entertainments will commence with Sir E. Lytton Bulwer’s celebrated play in five acts, entitled the
LADY OF LYONS!
Claude Melnotte – Mr. Charles Young. Colonel Dumas – Mr Rogers. Beauseant – Mr Thompson.
Glavis – Mr. Coppin. Mons. Deschappelles – Mr. Watson. Pauline – Mrs. Coppin. Madame Deschappelles – Mrs. Watson.
Previous to the Play and during the evening, the Band will play —
Overture — “Italian in Algero”— Rossini. — Overture —”Fra Diavolo”— Auber. — Quadrille — “Royal Irish” — Julien.
Wreath Dance, by Mrs. Young. — Song — “Should He Upbraid” — Mrs. Rogers. — Comic Song by Mr. Hambleton.
Mr. and Mrs. C. Young will then dance the “Tarantella” in the costume of the country.
To be followed by an entirely new interlude, never acted here, called
THE FOUR SISTERS.
An entirely new Comic Double Irish Jig, by Mr. and Mrs. Charles Young.
The whole to conclude with the very laughable Farce of the
TURNPIKE GATE.
Crack, the Cobbler – – Mr. Coppin. Joe Standfast – – Mr. Rogers.
Nights of performance during the present month :— Mondays, Tuesdays, Thursdays, and Saturdays.
Prices for the season as follow :- The Dress Circle, 5s ; half-price, 2s. 6d. Upper Circle 3s.; half-price, 1s. 6d. Pit, 2s.;
half-price, 1s. Gallery, 1s. ; no half-price.
Doors to open at half-past Six. Performance to commence at Seven o’clock precisely.
Proprietor, Mr. Smith ; Stage Manager, Mr. Nesbitt ; Mechanist, Mr. Capper . . . “
” . . . Coppin’s first appearance obtained the substantial compliment of a bumper attendance and the reception accorded the newcomers was all that could be desired. Their second appearance was on the 24th in the comedy of “The Soldiers Daughter”; but Coppin, according to the scribes, “did not show at his best” while Mrs. Coppin was a “tremendous success” as the Widow Cheerly. Rogers absolutely stormed the place by his spirited delineation of Governor Heartall, and Mr. Young’s “acting was far from being as good as his dancing.” As for Megson, he had “become musically acquainted with the people, and his violin solo was much admired . . . “
Source: Excerpts – ‘The Chronicles of Early Melbourne – 1835 to 1851 – Vol I’ – by Garryowen – published 1888
Much of the ‘Queen’s Theatre’ was associated with the infamous actor and entrepreneur, George Coppin, whether it be he, himself acting or those he brought to the stage.
” . . . It took small things to create stage sensations in those early days. Coppin’s arrival in Melbourne from Launceston, with a complete company and a band, was an event. He capped it by covering the stage with a piece of drugget carpet, for the production of A School for Scandal. This was considered a’ most, lavish advance in play mounting. His first production in Melbourne, however, was The Lady of Lyons, at the Queen’s Theatre, on 21st June 1845 . . . “
Source: Excerpt – Leader (Melbourne, Vic) – ‘Representative Men – The Hon. George Selth Coppin’ – published 1st February 1903
The Tragic Wreck of the ‘Cataraqui’
A few months later, Melbourne was to learn that of up to 415 persons on board the Barque ‘Cataraqui‘ – Australia’s worst maritime disaster – only 8 crew and 1 immigrant survived the shipwreck which occurred on Sunday, the 3rd of August 1845. Though still a new arrival to Melbourne, George Coppin was quick to render assistance and organised a performance to be held at the Queen’s Theatre to raise funds to assist the survivors & rescuers of this tragedy:
” . . . Towards the middle of the same month Melbourne was astounded one morning by the terrible intelligence that the “Cataraqui” emigrant ship, from Liverpool to Port Phillip, was totally wrecked on a reef at King’s Island, when there was a frightful destruction of human life, the only survivors being the chief mate, one immigrant, and seven seamen. These arrived by a schooner in the Bay, and their heartrending narrative produced the most intense consternation. Immediate steps were taken to raise funds for their assistance, as well as to reward a sealing party stationed at the time on the island, by which the unfortunates were saved from death by starvation. Coppin, though in a certain sense commencing the world, unsolicited offered a theatrical performance in aid of the Relief Fund. This was the first occasion of the proprietor or lessee of a theatre giving a benefit for a charitable purpose in the colony, and it will be interesting after such a lapse of time to read the manifesto by which Mr. Coppin made the announcement:—
QUEEN’S THEATRE ROYAL, QUEEN STREET,
Under the immediate Patronage of His Honor the Resident Judge and His Worship the Mayor.
Upon which occasion the proceeds of the evening’s entertainment will be given in aid of the survivors from the late melancholy
SHIPWRECK OF THE EMIGRANT SHIP “CATARAQUI,”
And to reward Mr. Howie’s party for their meritorious assistance.
N.B. – The manager does not think it necessary to solicit the support of the public for this evening, feeling assured (from the well-known liberality of the Melbourne inhabitants) the above announcement will in itself-without taking into consideration the attractive entertainment — fill the theatre for the relief of the unfortunate.
On THURSDAY EVENING, I8TH SEPT., 1845,
The entertainment will commence with Sheridan Knowles’ celebrated play, entitled,
THE HUNCHBACK; OR, NO MAN’S LOVE.
To conclude with the Nautical Drama of
THE SEA ; OR, THE OCEAN CHILD.
The public cheerfully responded to the call, and the house (of course much more restricted in dimensions than our present places of entertainment) was crammed. There were 177 persons in the boxes, 453 in the pit, and 313 in the gallery. The gross proceeds amounted to £91 11s., which (less £25 11s expenses) brought £66 to the charity — a considerable help as things went then . . . “
Source: Excerpt – ‘The Chronicles of Early Melbourne – 1835 to 1851 – Vol I’ – by Garryowen – published 1888
George Coppin returned to London in 1854 during which time he convinced some talented artists to venture to Australia with him:
” . . . 1854 he [Coppin] returned to London and played at metropolitan and provincial houses, and finally engaged Mr. G. V. Brooke and other artists to visit the colonies . . . “
Source: Excerpt – The South Australian Advertiser – “Mr George S Coppin’ – published 5th November 1883
GV Brooke joined Coppin in Melbourne on the 23rd February 1855. Just three nights later they opened at the ‘Queen’s’ with Coppin’s triumphantly acclaimed Othello.
” . . . returned to Australia and commenced playing a round of characters at the Queen’s Theatre, on the 18th December, 1854. Mr G. V. Brooke first appeared at the Queen’s Theatre on the 26th of February, 1855 . . . “
Source: Excerpt – Tasmanian (Launceston, Tas. : 1881 – 1895), ‘Mr George Coppin’ – published 3 Dec 1881
The ‘Queen’s Theatre’ would enjoy a large repertoire of actors, managers and performances during its lifetime, including Conrad Knowles, Francis Nesbitt, George Coppin, Morton King, William B Gill, to name a few.
Shakespeare plays, countless melodramas, Melbourne’s own ‘home-grown’ pantomime would enthrall audiences for many years at this beautiful venue . . .
” . . . Melbourne is tolerably well supplied with places of public amusement, adapted to the tastes of all classes. The Queen’s Theatre, in Queen-street, possesses an excellent local company, and with the aid of successive arrivals of “stars” (of lessor or greater magnitude), representations of the standard works of the great dramatists of the past and present day are faithfully and effectively rendered . . . “
Source: Excerpt – Age (Melbourne, Vic) – Article ‘Melbourne in 1854’ – Published 31st January 1855
Digressing a little, the following extract provides a fascinating insight into the impact of the theatre in those early years – a constant that appears to remain across the ages – perhaps not the best review, however, the performance left such an impact making it worthy of including in a book:
” . . . I have suffered several such painful inflictions from colonial tragedy, that I am cautious now how I encounter it. Never shall I forget the horrors of a dreadful caricature of “Virginius,” done by a huge creature, who might have made a figure among Barclay and Perkins’s draymen. His unwieldy, awkward person was sustained by portentously enormous legs, which looked as if they were swathed up in bandages made of a thick counterpane, and were displayed to full advantage, in Roman costume (or what was meant for such), with a very brief tunic and scanty toga. When he first entered, I shut my eyes upon the frightful apparition, and mentally looked back to the grand, statuesque beauty and majestic grace of Macready’s Roman. “Hyperion to a satyr,” in verity!
But not so easily could I shut out the harsh voice, whose stentorian bellowings sounded like nothing human; and as if they were not sufficiently terrific, they were assisted by loud grinding and gnashing of teeth so violently grated together, that one expected to see them fly into splinters; this was used to exemplify either scorn or pathos! In the scene of Virginia’s death, the monster clutched the unfortunate actress who personated her, under one arm, like a bundle of old clothes, and staggered backwards; whilst with the other hand he tried to reach the area railings of a piece of a shabby street scene, which formed one side of the forum, opposite the armchair where sat Appius Claudius, surrounded by his army of four individuals; and at last, being near enough, he grasped the knife, which I had before seen stuck into the side railings, but it had been too firmly planted for easy removal, and the sturdy Roman tugged and wrenched, and tugged again, with desperate energy, till at last out came the perverse weapon, with a jerk that nearly upset father and daughter into the tyrant’s lap; and the deathstroke, for which both Romans and Tasmanians had patiently waited, at least three minutes, was bestowed, to the general relief and satisfaction; whereupon the raving and ranting again proceeded, increasing in fury and vehemence unto the end; and the welcome curtain fell upon this cruel and deliberate murder of the noble work of Sheridan Knowles.
Since that memorable evening, I have not ventured into the presence of colonial tragedy. ‘Hamlet’ was barbarously mangled some months ago in Hobart, by a party of “amateurs,” whose estimate of their own histrionic capabilities induced them to desire a public display thereof. We all remember the old story of ‘Hamlet’ being performed without Hamlet himself; but our amateurs, among other original emendations, acted it without H’s . . . “
Source: Excerpt – ‘Over The Straits: A Visit To Victoria’ – by Louisa Anne Meredith – published 1861
The ‘Queen’s Theatre’ was demolished in 1922 . . .
Helpful Hints:
– Located within the Melbourne Town Centre – obtain Directions here
Discover Melbourne:
– Shopping
– Facilities available at Melbourne
Sorry, no records were found. Please adjust your search criteria and try again.
Sorry, unable to load the Maps API.
- Sealed Road