David Martin

My love of theatres commenced at an early age. When I was a small child, I got myself into trouble for using my bed clothes in the erection of a theatre tent in our back yard. At that period in England, it was the practice in most towns to hold an Annual Fair, which found employment for a large number of people as public entertainers, who travelled from town to town in caravans, in which they lived. There were theatres, circuses, wild beast shows, peep shows, monstrosities (such as dwarfs, giants and a tow-headed lady, who no doubt was a fake), merry-go-rounds, swing boats, shooting galleries, boxing tents and a host of others. After one fair a theatrical company remained in town to give performances. I was keen on visiting the show and risked a castigation for being out late without leave; also, my dread of ghosts, as I had to pass through a churchyard filled with graves, and as I passed through, I imagined ghosts were glaring at me from behind the tombstones.

View of Melbourne looking down Bourke Street from Parliament House, c.1860, by Hamel & Co., lithographers. State Library Victoria, Melbourne.

The first genuine theatre to which I was taken was the Royal, Southampton, to see the play of “Uncle Tom’s Cabin”, by Mrs Harriet Beecher Stowe from a book which did a lot to bring about the abolition of slavery in America, culminating in the American Civil War.

When I arrived in Victoria [February 1855 at 13 years old], the only theatre in Melbourne was “The Queen’s”, in Queen-street, in which the diggers showed their appreciation of the performers by throwing golden nuggets at them. The theatre in later years became a carriage factory. Next door to the theatre was a tavern, known as St John’s, kept by Mr John Thomas Smith (the Whittington Mayor of Melbourne), who also presided at the Police Court; and was a terror of offenders. A son of his in later years became Crown Prosecutor. The Police Court, at the time I refer to, was a commodious bluestone building at the junction of Little Collins and Swanston-streets—the site is now occupied by a portion of the Town Hall.

Old Melbourne: the Salle de Valentino. Wood engraving published in The Australasian Sketcher, 15 April 1876. State Library Victoria, Melbourne.

At the top of Bourke-street, where now stands the Imperial Hotel, was a wood and canvas erection, known as the “Salle de Valentino”, where music and dancing were carried on. The first part was a concert, in which Billie Barlow, a wonderful musical genius, performed. He could extract music from almost anything but specially favoured kitchen utensils. He had a great song named “The Blue-tailed Fly”, which he sang with banjo accompaniment; the refrain was the buzzing of a blowfly, which was most natural.

Lower down Bourke-street was “Mooney’s Concert Hall and Hotel”, on the site of the present Palace Theatre [now Le Meridien]. Admission was free; but all drinks were a shilling and if you were not sufficiently rapid in the consumption of your liquor, a waiter would give you a hint it was about time to order another drink. The entertainment was good and the class of performers the best to be had. Later on, down the street, and opposite Buckley and Nunn’s drapery store, a well-built and suitable edifice was erected for dining rooms and a music hall, which was known as “Tilke’s”. You could be certain there at any hour of getting a good meal. In the music hall the best available talent was engaged, and drinks were supplied to visitors at a reasonable cost. Some time afterwards, a judge and jury were started in the hall. The stage was converted to represent the interior of a courthouse; the judge and counsel were robed in wig and gown, and a man was made up to represent a female witness. The evidence produced was amusing but not always of a too modest character.

G.V. Brooke, 1861. Photo by Jeffrey Hawkins.

State Library Victoria, Melbourne

Charles Mathews, 1870. Photo by W.J. Norman, [Melbourne].

State Library Victoria, Melbourne

Of all the actors I have seen and heard, G.V. Brooke was my special favourite. He had been a well-known and popular tragedian in England and sailed for Australia in 1855. In appearance, he was handsome and dignified; he had a wonderfully resonant voice, which could be heard clearly in every part of the theatre. Such was my admiration of him that I witnessed every piece in which he took a part, sometimes more than once. Of the plays at which I was present I may mention—“Shylock”, “Macbeth”, “Virginius”, “Richelieu”, “Othello”, “Louis the Eleventh”, “Sir Giles Overreach” and “Matthew Elmore.” In spite of his great skill as a tragedian he could descend to lighter parts, the principal of which was “O’Callaghan on his Last Legs”, in which he was inimitable. He should have become a rich man but owing to his good nature and kind heart it was otherwise. After some years he returned to England with a hope of renewing his former glories there; but fortune was against him and he determined to return to Australia, but alas! never reached here. He sailed in the passenger steamer “London”, which foundered in the Bay of Biscay, a few days after leaving England. While hope lasted, he doffed his coat and vest and worked like a trojan at the pumps. When no longer hope existed he stood up, like a Roman hero, and went down with the ship. This information I had from one of the survivors who had escaped in a boat. Another of England’s great notable actors who honoured our shores with a visit, was Charles Mathews, who arrived here in April 1870. He was then 66 years of age and naturally some of his former sparkle had been dimmed; nevertheless, he became a good draw. He opened in the Theatre Royal on 9th April. Amongst his favourite plays were: “Used Up”, “Patter versus Chatter” and “The Critic.” His tour in Australia was most successful and a great pleasure to the large audiences that witnessed his performances. Another of my favourites was Mr Robert Brough, who came here with his talented wife from the Old Country, where they were well-known. He was a gentlemanly and talented actor; his wife had equal merit and was a strong support for her husband, for all they produced was of a refined character. Mr Brough became associated with Mr Dion Boucicault (the talented son of a talented father), in the management of the Bijou and Princess Theatres and their efforts in each were strongly supported by the public.

G.S. Titheradge, 1890. Photo by Falk, Sydney.

Australian Performing Arts Collection, Arts Centre Melbourne

Charles Warner, 1876. Photo by Lock and Whitfield, London.

Elisabeth Kumm collection

Mr G.S. Titheradge came to us from India and from the start he jumped into popular favour. He was a gentleman and while on the stage never forgot it. Although he played many parts, including Shakespearian, the best of his characters were: “The Abbe Dubois”, “Wilfred Denver”, “Colonel Hawtrey”, “Henry Beauclerc” and about twenty others. As the Abbe, his words became a sermon, and his listeners could not have left the Bijou Theatre without feeling better in mind and Morals.

Mr Charles Warner came to Australia early in 1888 and appeared at the Theatre Royal. His style was what might be called “the tempestuous school of acting”. His greatest character was that of “Coupeau”, in the play of “Drink”, in which he delineated the various stages of a drunkard’s career, which constituted a most effectual temperance lecture. Stage by stage he proceeded until he was overcome by delirium tremens and ended a raving maniac. He was equally successful in his delineation of the character of “Hamlet”, and from his interpretation showed that he had carefully studied the character.

The Majeronis in Marie Antoinette, 1880s. Poster by Richard Wendel, published by Troedel & Co., Melbourne.

State Library Victoria, Melbourne

Mr and Mrs Bland Holt, 1907

Elisabeth Kumm collection

Signor and Signora Majeroni visited us in 1883. Both had sufficiently mastered the language to play in English and became great favourites. Madame Ristori was the Signora’s aunt. The play in which I best remember them was “Fedora”, Signor Majeroni as “Louis Ipanoff” and the Signora as “Fedora”. Their delineations were wonderful and the “Fedora” of Signora Majeroni was probably her greatest achievement.

Bland Holt, as a manager and comedian, is one that well deserves remembrance. He had possession of the Theatre Royal, and he and his company deserve the name of a happy family, for all worked well together. His wife was an able and talented seconder to her husband’s efforts. Whatever he put on the stage was most complete in every detail. We have them still with us; they are delightful people to meet and are living privately in Cotham-road, Kew.

George C. Miln as Richard III. Photo by Brewster & Co., Melbourne.

Elisabeth Kumm collection

Louise Jordan, 1888, by unknown photographer

Australian Performing Arts Collection, Arts Centre Melbourne

Mr George Miln, an American, visited us in 1889 (he left the church for the stage), and was accompanied by his wife, who appeared under the name of Miss Louise Jordan. They appeared in the old Opera House, which was afterwards pulled down. Their opening piece was Cibber’s “patchwork” version of “Richard the Third.” Mr Milne was a Shakespearean student. In “Antony and Cleopatra“ he showed that he possessed elocutionary gifts of no ordinary kind.

J.L. Toole as Chawles in A Fool and His Money, 1890. Photo by Falk, Sydney.

Falk Album, Theatre Heritage Australia

Mrs Brown Potter as Camille, 1890. Photo by Falk, Sydney.

Falk Album, Theatre Heritage Australia

In 1890 we had a visit from Mr Kyrle Bellew and Mrs Brown Potter, both of whom had gained attention as “professional beauties.” They opened in the Princess Theatre in “Camille”.

Mr J. L. Toole came to Australia rather late in life and appeared at the Princess Theatre as “Chawles” in the comic drama thus named. Mr Toole had a natural gift of humour; the expression of his features consorted with the character he was acting.

L.L. Smith, 1858. Photo by Mayall, Melbourne.

State Library of Victoria, Melbourne

Sir William Don with George Coppin, c.1862, by unknown photographer

From The Cyclopedia of Victoria, vol. 2, 1903

We had a small building known as the “Novelty”, which was occupied by a French Comedy Company in 1880; it was formerly Dr L.L. Smith’s Anatomical Museum, in which were exhibited wax models showing various stages of the special diseases on which the Doctor was a specialist. The site is now occupied by a building owned by the Salvation Army.

One of the strangest performers with whom we were honoured was a visit from Sir William Don, Bart.; he was a man who troubled not with the cares of the world; light-hearted and volatile, he had run through two fortunes. He was a man of unusual stature, being over 6ft 6in in height. He had been an officer in a crack regiment, but his commission had to go with his fortune. He was specially fitted by Nature for light comedy and burlesque and his appearance never failed to raise a laugh. His delineation of two characters, “Cousin Joe” and “Toodles”, may be specially mentioned.

Joseph Jefferson, 1860s. Photo by Davies & Co., Melbourne.

State Library of Victoria, Melbourne

Joseph Jefferson as Rip Van Winkle. Photo by Sarony, New York.

National Portrait Gallery, London

One of the greatest comedians who honoured us with a visit was Joseph Jefferson, who played continuously in the Princess Theatre for over six months. In spite of his great talents, he was more modest in his efforts; it might even be said he was shy and retiring. His audience forgot that they were witnessing acting and could well believe they were looking on real life; at the same time, he was full of humour. His great Character was that of “Rip Van Winkle”, in which he displayed such great diversity of character, from that of the poor drunkard in his cups to that in the last act, when as an old man he returns to his village after his hundred years’ sleep, to find himself forgotten and mocked at. He was a man who, taking him all in all, “we shall ne’er look upon his like again”.

David Martin. Photo by T. Humphrey & Co., Melbourne.

Courtesy of Margaret Knight

To be continued

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