Читать книгу Some Reminiscences of old Victoria - Maurice Thompson, Fawcett Edgar - Страница 4

In looking through a trunk of old letters and other odds and ends the other day, I came across what might be considered of some interest to some of our pioneers in the sixties. The find consisted of six playbills, or, as they could very well be considered, theatrical posters, from the size; but they were such as were then given to people as they passed the doorkeeper into the old Victoria Theatre on Government Street. They measure two feet long by ten inches wide, and are like posters alongside those now used. These plays were produced in the times of Governors Douglas and Seymour, and were under their distinguished patronage.

In those days very few theatrical companies visited Victoria, except at irregular intervals, so that theatre-goers had to rely, to a great extent, on the productions of the Victoria Amateur Dramatic Club to fill up the intervals. At this date there were many well-educated and professional men here who had come from the Old Country to get rich in a short time; and, thinking the mines were close to this city, many of these joined the club. Charles Clarke was a prominent member, also W. M. Anderson, C. B. Tenniel, together with many of our young business men, viz., Arthur Keast, the brewer; Lumley Franklin, the auctioneer; S. Farwell, the civil engineer; H. C. Courtney, the barrister; H. Rushton and Joseph Barnett, of one of the banks; Ben Griffin, mine host of the Boomerang; Godfrey Brown, of Janion, Green & Rhodes; W. J. Callingham, of McCutcheon & Callingham, drapers (the latter, by the bye, was a most clever low comedian); Plummer, the auctioneer; and last, though not least, Alex. Phillips, of soda water fame. These names will all be familiar to old pioneers. As female talent was scarce, or they were loth to take part in theatricals, the other sex had to be enlisted, and I shall not forget the meeting at the Boomerang (our meeting-place) when this difficulty was met by the suggestion that your humble servant should take the part of "Emily Trevor" in "Boots at the Swan." I protested my inability, but was overruled. Not yet having occasion to use a razor, and being youthful, it was decided that I should try my hand at female impersonation, under the "stage name" of "Helen Fawcet." The result of the experiment was that I subsequently took the parts of "Julia Jenkins" in "Who Stole the Pocket-book?" and "Mary Madden" in "Henry Dunbar." This last character was a rather more difficult one than the others, and although I was perfect in my part, I was reported in the next morning’s Colonist by "Leigh Harnett" as looking very sweet, etc., but "as not speaking up," which, of course, was a serious defect. This criticism was a damper on my theatrical aspirations in female parts, for I returned to the commonplace parts of a poacher, a brigand and a footman. The performances were generally given for some charity, such as the Orphans of St. Ann, the fire department, and so forth, and were "under" the distinguished patronage of Admiral Hastings and officers of H.M.S. Reindeer, and officers of the fleet often helped us out. I see by the bills that the admission was $1.50 reserved seats, $1.00 unreserved, and 50 cents "pit," with $10 for a box. "Performance to commence promptly at 7.30." The orchestra was composed, with others, of Digby Palmer, F. S. Bushell, Gunther and Roberts, with, I think, Bandmaster Haynes. All our performances were given under the direction of R. G. Marsh, a standard theatrical manager, who, with his wife, adopted daughter, "Jenny Arnot," his son and Miss Yeoman, was a great help to us. In fact without their assistance we could not have produced plays with female characters. Not to make this too long, I will wind up by giving what I can remember of a piece called "The Merchant of Venice Preserved," by a local poet. It was full of local hits, which only those who were acquainted with politics and the questions of the day at that time will understand:

The evening of my first appearance in female character, I was dressed at home, and escorted down town with a lady on each side of me, and I can remember how hard it was for them to keep their countenance, for several times I thought I was discovered ere we reached the theatre. We all walked to and from the theatre in those days – there were not half a dozen hacks in Victoria.

The photo shows old "Theatre Royal" at the time of which I write, viz., 1866 to 1868, and in which all the theatricals were produced in these early days; although there was a sort of theatre used for nigger minstrel performances and concert hall business. This was situated under Goodacre’s butcher shop. The principal actor and negro delineator was "Tom Lafont," whose equal I have not seen since as an imitator of negro comicalities and as a bird whistler. He will be well remembered by old-timers. The Theatre Royal was situated on Government Street, one door from the corner of Bastion, as will be seen in the picture. This corner was first occupied by Doctor Davie, sr., then by a Doctor Dickson, when first I remember it. He died about a year ago in Portland, Oregon, just after a visit to this city. The theatre was, I think, composed of two of the big barns in the fort, which being connected together, made one long building, reaching to Langley Street. There was a saloon or restaurant kept by Sam Militich on the one side of the front entrance, and Newbury’s saddlery shop on the other. The upper front of the theatre was used as a photograph gallery, and was occupied, among others, by a Mr. Gentile and J. Craig. A showcase of photos, in a small annex, which was connected with the gallery above, may be seen with a magnifying glass.

Charles Keen and Mrs. Keen produced several of Shakespeare’s plays here in 1864, and I went with my father to see "Macbeth." We had seats in the pit, or orchestra chairs, as now known. Reserved tickets were three dollars, and although this was thought to be a famine price, the opportunity of hearing such celebrated people as the Keens was not to be resisted, so the house was packed at each performance.

Charles Wheatley, considered a fine comedian, produced the "Colleen Bawn," or the "Brides of Garry Owen." The play made a lasting impression on me, as the finest comedy I had ever seen. It may be that Mr. Wheatley’s fine personation of Danny Mann, the leading part, made me think so, but it was a fact nevertheless.

Madame Anna Bishop, whom Mr. Higgins has told us about in one of his interesting stories, delighted many audiences in "Old Theatre Royal."

I can also remember the Reverend Morley Puncheon, who was a celebrated Methodist preacher, and chairman of the home church in England. He gave readings from celebrated authors. During one of these readings, and while he was reciting from Macaulay’s "Lays of Ancient Rome," the fire bell rang, and in less time than five minutes there was hardly a man left of his audience. He was at first struck dumb with surprise, then offended. That such an ordinary thing, as it seemed to him, should have stopped his lecture! But it was explained to him how that fires were put out by the citizens generally; that it was a matter of much moment to them; that it may have been the home of any of them; also that many of the audience were members of a fire company, and were liable to be fined for non-attendance, although their services were given free. This satisfied him, and he went on with the reading. Theatre Royal served Victoria until the building of Theatre Victoria.