Preamble [1]
For you convenience, I have listed below posts in this series:
Early Australian Posters and Program Covers[1] - Part I
Early Australian Posters and Program Covers[1] - Part II
Introduction [1]
Live theatre appealed to a very wide audience in the nineteenth century. "Ladies" and "gentlemen" sat in relative comfort in the dress circle and boxes, while the pit and galleries were packed with less affluent, but just as appreciative theatre goers members of what was called at that time, the "lower orders." In goldrich Melbourne (Australia) in the 1860s, for example, there were three large theatres: the Theatre Royal, the Haymarket and the Princess's, which were resplendent with plush and gilt fittings.
Outside view of the Theatre Royal.
Inside view of the Theatre Royal.
Outside view of the Princess's, Melbourne (Australia) ca. 1860s.
Inside view of the Princess's, Melbourne (Australia) ca. 1860s.
Outside view of the Haymarket.
Inside view of the Haymarket
These theatres regularly drew large audiences simultaneously to dramas, operas or ballets. At other times of course, a theatre may be dark for months until a venturesome manager leased it for a season.
Theatres, before the days of electric light, with their gas lighting and use of volatile limelight for stage effects, were vulnerable to fires. Noteable among the theatres destroyed were Melbourne and Sydney Royals, which were burnt down in the 1870s. The Melbourne Royal was rebuilt within six months by George Coppin. The auditoria of nineteenth century theatres were not darkened performances: the audiences tended to look at each other as well as at the stage. Prices ranged from six pence or a shilling in the pit and gallery respectively, to five shillings or seven and six pence in the dress circle and boxes respectively. Performances began at 7:30 pm, and often ended after 11 pm. A typical theatre year might consist of plays from the English repertory, including Shakespeare and current London hits, opera, ballet, and minstral shows. For instance, in 1863, Melbourne's Theatre Royal's year began with an opera season, followed by a few performances by a minstral company. The great American actor, Barry Sullivan, then leased the theatre and appeared in plays ranging from Shakespeare to Sheridan.
The period's more flexible attitude to classics can be highlighted in the programming of such plays as Hamlet with the laughable farce, 'The Double-Bedded Room.'
The culimination of the year was the Christmas pantomine, which started its season on Boxing Day, an Australian holiday on the 26th December of any given year.
Pantomime was one of the most popular forms of stage entertainment. Based on the old forms of Italian Commedia dell'Arte, pantomimes appealed to adults as well as to children. For adults, there was political satire, lavish production, chorus girls, and a 'Principal Boy', played by a curvaceous actress in doublet and hose.
By the 1890s there was a circuit of theatres throughout the Australian colonies, and an appreciative audience for both international touring companies and local talent. During this period, long theatrical tours were made possible by improvements in shipping and railways. In 1882, the American actor James Cassius Williamson founded a management company with theatre outlets in most Australian capital cities. The "Firm", as it became to be known, specialized in musical comedy and plays. It was to dominate Australian show business until the 1970s.
In 1890, the popular English music hall comedian, Harry Rickards, established a chain of variety theatres around Australia that eventually became known as the Tivoli Circuit. Australian vaudeville, and its other derivatives, such as variety and revue, had its origins in American minstrel shows and English music hall entertainment. It consisted of many different acts performed by comedians, magicians, jugglers, acrobats, singers and dancers. Rickards arranged tours by English music hall stars, such as Marie Lloyd and Little Tich, and the American comedian W.C.Fields.
Harry Rickards.
The careers of local artists, such as Florrie Forde and Fred Bluett, were advanced under Rickards' management. By the 1920s vaudeville was also playing in theatres owned by J.C. Williamson and the Fullers. From about 1914, Australian variety stars acquired a large following.
Early Australian Posters and Program Covers[1] - Part II
Rickards' Poster.
Miss Stella Gastelle's Poster.
Program Poster.
Poster of an Australian Film Star.
Poster for a Ken Hall film.
Program for a Pantomime.
Poster for a Chauvel film.
Reference:
Article by Mimi Colligan, Australia Post Philatelic Group.
For you convenience, I have listed below posts in this series:
Early Australian Posters and Program Covers[1] - Part I
Early Australian Posters and Program Covers[1] - Part II
Introduction [1]
Live theatre appealed to a very wide audience in the nineteenth century. "Ladies" and "gentlemen" sat in relative comfort in the dress circle and boxes, while the pit and galleries were packed with less affluent, but just as appreciative theatre goers members of what was called at that time, the "lower orders." In goldrich Melbourne (Australia) in the 1860s, for example, there were three large theatres: the Theatre Royal, the Haymarket and the Princess's, which were resplendent with plush and gilt fittings.
These theatres regularly drew large audiences simultaneously to dramas, operas or ballets. At other times of course, a theatre may be dark for months until a venturesome manager leased it for a season.
Theatres, before the days of electric light, with their gas lighting and use of volatile limelight for stage effects, were vulnerable to fires. Noteable among the theatres destroyed were Melbourne and Sydney Royals, which were burnt down in the 1870s. The Melbourne Royal was rebuilt within six months by George Coppin. The auditoria of nineteenth century theatres were not darkened performances: the audiences tended to look at each other as well as at the stage. Prices ranged from six pence or a shilling in the pit and gallery respectively, to five shillings or seven and six pence in the dress circle and boxes respectively. Performances began at 7:30 pm, and often ended after 11 pm. A typical theatre year might consist of plays from the English repertory, including Shakespeare and current London hits, opera, ballet, and minstral shows. For instance, in 1863, Melbourne's Theatre Royal's year began with an opera season, followed by a few performances by a minstral company. The great American actor, Barry Sullivan, then leased the theatre and appeared in plays ranging from Shakespeare to Sheridan.
The period's more flexible attitude to classics can be highlighted in the programming of such plays as Hamlet with the laughable farce, 'The Double-Bedded Room.'
The culimination of the year was the Christmas pantomine, which started its season on Boxing Day, an Australian holiday on the 26th December of any given year.
Pantomime was one of the most popular forms of stage entertainment. Based on the old forms of Italian Commedia dell'Arte, pantomimes appealed to adults as well as to children. For adults, there was political satire, lavish production, chorus girls, and a 'Principal Boy', played by a curvaceous actress in doublet and hose.
By the 1890s there was a circuit of theatres throughout the Australian colonies, and an appreciative audience for both international touring companies and local talent. During this period, long theatrical tours were made possible by improvements in shipping and railways. In 1882, the American actor James Cassius Williamson founded a management company with theatre outlets in most Australian capital cities. The "Firm", as it became to be known, specialized in musical comedy and plays. It was to dominate Australian show business until the 1970s.
In 1890, the popular English music hall comedian, Harry Rickards, established a chain of variety theatres around Australia that eventually became known as the Tivoli Circuit. Australian vaudeville, and its other derivatives, such as variety and revue, had its origins in American minstrel shows and English music hall entertainment. It consisted of many different acts performed by comedians, magicians, jugglers, acrobats, singers and dancers. Rickards arranged tours by English music hall stars, such as Marie Lloyd and Little Tich, and the American comedian W.C.Fields.
The careers of local artists, such as Florrie Forde and Fred Bluett, were advanced under Rickards' management. By the 1920s vaudeville was also playing in theatres owned by J.C. Williamson and the Fullers. From about 1914, Australian variety stars acquired a large following.
Early Australian Posters and Program Covers[1] - Part II
Reference:
Article by Mimi Colligan, Australia Post Philatelic Group.
No comments:
Post a Comment