Cirrus@Austlit

Buggins comments on various items of current politics, religion and fashion, before turning to theatre matters. He notes a Surrey Theatre, Plymouth, production of 'that most abominable of all modern slang sensational pieces entitled Under the Gaslight' by John Augustin Daly, and writes in some depth about a production of The Rightful Heir by Edward Bulwer Lytton at the Royal Lyceum Theatre, London.

At the Prince of Wales Opera House, Buggins 'is sorry to record a continuation of very indifferent business' for the production of Joseph Stirling Coyne's Fraud and Its Victims. He then notes, 'with great pleasure', theatre manager William Dind's engagement of Tom Leopold as a clown, and states 'with very much satisfaction' that the 'celebrated composer and talented pianist, Mr. C. E. Horsley' will soon take a benefit at the Prince of Wales.

Buggins replies to J. Sheridan Moore's explanation of his (Moore's) 'awkward' lecture delivery manner. Buggins reasserts his view that Moore was 'out of his depth' in the subject matter and goes on to provide a (not very flattering) overview of Moore's literary career.

Buggins then turns his attention to the theatre. He despairs at the low attendances at the Prince of Wales Opera House and is 'surprised that Messrs Dind and Hoskins have kept the theatre open so long'. Buggins hopes that with the Christmas season approaching, 'the antics of Clown and Pantaloon, in Pantomime may prove more remunerative than legitimate business has hitherto done'.

Buggins praises the 'clever little actress' Kate Corcoran; comments on the production of John Howard Payne's Clari; or, The Maid of Milan and of La Sonnambula; and notes the performances of Madame Anna Bishop at the Masonic Hall.

Buggins comments on the financial shortages faced by the new New South Wales government and also requests the new government to 'introduce the long needed reform in the police force'.

Buggins then reflects: 'We have had very little novelty in the way of amusements this week'. He notes the Prince of Wales Opera House's production of Edward Fitzball's Christmas Eve; or, A Duel in the Snow, H. J. Byron's burlesque The Lady of Lyons and, in a little more detail, Joseph Stirling Coyne's My Wife's Daughter. Buggins briefly mentions the amusements at the Sydney Mechanic's School of Arts and at the Varieties.

Buggins comments on the tableaux depicting St John's Apocalypse, on display at the Sydney Mechanics' School of Arts, and mentions J. Sheridan Moore's lecture on the display's subject matter. Buggins offers the view that there was 'an awkwardness' in Moore's delivery and that he 'gave the impression of being afraid of giving offence to the audience'.

Buggins then discusses the preceding week's productions at the Prince of Wales Opera House: W. J. Lucas's The Man with the Iron Mask, Tom Taylor's Still Waters Run Deep and Charles Mathews' Little Toddlekins.

Buggins reflects on the change of government in New South Wales before turning his attention to the 'considerable amount of "talk" in literary circles, about the discovery of a new poem, by John Milton.'

Buggins then comments on recent offerings in Sydney theatres: the Prince of Wales Opera House has had a production of John Palgrave Simpson's Stewart Routh; or, Woman's Devotion (aka Black Sheep). In his detailed notes on the production, Buggins concludes: 'I don't remember having seen, even in London, a drama better rendered – particularly as regards the characters sustained by Miss Rosa Cooper and Mr. Hoskins'.

Buggins's opening salvo reads: 'At the opera house, the attendance – considering the attraction of legitimate pieces, well mounted and carefully acted, have been disgraceful to the playgoers of Sydney, and proves that the estimate I first formed of their capabilities of appreciating anything in the shape of intellectual amusements, was a correct one. The only good house I have seen in a Sydney theatre during the past twelve months was on the occasion of the production of Jack Sheppard at the Victoria, shortly before the company migrated to the opera house – one of the most disgusting and immoral plays ever written.'

He continues: ' My only wonder is that the management continue to cater for a class that has no existence in Sydney. If plays and dramas of a low and repulsive school are the only ones that will draw money to the theatre, I can scarcely think they (the managers) are justified in working so hard to obtain patronage when it is evident that their labour is useless.'

Buggins then proceeds to discuss the Royal Victoria Theatre production of James Sheridan Knowles's The Hunchback, featuring Miss Aitken in the role of Julia, and also mentions a performance of William Shakespeare's The Winter's Tale.

Buggins opens his weekly column with some reflections about the demise of James Martin and his ministry. He then turns his attention to the previous week's productions at the Prince of Wales Opera House. He pays tribute to William Hoskins's stage management of Edward Fitzball's Azael; or, The Prodigal of Memphis (although he doubts whether the play has any literary merit), declaring: 'I have never seen in the colonies a piece better placed upon the stage'. Buggins provides a detailed examination of the acting, especially praising Rosa Cooper.

Buggins comments on the re-opening of Parliament, before turning his attention to Charles Badham's scheme to teach French and Latin to colonial workers.

Buggins notes that he 'has not been to the Prince of Wales Opera House during the past week', but is informed that Madame Anna Bishop has been performing gloriously.

Buggins comments on the death, in Paris, of American actress and poet Adah Isaacs Menken, and notes the first appearance of Madame Anna Bishop at Sydney's Prince of Wales Opera House.

He then continues: 'There has been very little novelty in the dramatic portion of the entertainments ... We have had Planche's Faint Heart Never Won a Fair Lady which is not one of the most brilliant of his productions ... Then we had The Handsome Husband ... and one or two farces.'

Buggins muses over recent altercations in Sydney's Municipal Council and on an accident in Parramatta Street involving a young lady, 'a large chignon decorated with superlatively long streamers', a windy day and a hansom cab.

He then turns his attention, briefly, to the previous week's performances at the Prince of Walers Opera House: Jane Shore, Susan Hopley, My Poll and My Partner Joe, The Heir at Law and, in a little more detail, The Stranger.

Buggins also provides an update on the health of Walter Montgomery following a horse-riding accident.

Buggins comments on a fight between patrons at the Prince of Wales Opera House during the previous week; those involved were members of the crew of the Charybdis and 'wearing her Majesty's uniform'.

Buggins reflects on the sometimes dubious practice of adapting works for the stage and then discusses the previous week's performances at the Prince of Wales Opera House: 'Sarah the Creole is not an interesting play' and both it and Raymond and Agnes are 'played too slowly'. 'Azael, or the Prodigal Son is in preparation' and 'new and very elaborate scenery has been painted for it'.

Buggins also mentions that he has 'paid a visit to the Scandinavian' and 'is bound to acknowledge that the performance was remarkably good, and the audience highly respectable'.

Buggins ruminates on a recent instance of sectarianism in Sydney before turning his attention to the Irish-born playwright Dion Bouciault (Senior). Buggins contends that Boucicault's Foul Play (first performed at the Holburn Theatre, London, on 28 May 1868) bears marked similarities to the French play Le Portefeuille Rougge. Buggins observes that Boucicault has lately complained that other writers have been 'making use of the plots of his dramas'. Surely, says Buggins, Boucicault 'could not have been engaged at the very time of filching' from the works of others.

Lastly, Buggins provides a general round-up of Sydney amusements from the previous week, noting particularly the productions at the Prince of Wales Opera House including Thomas William Roberton's Caste, John Augustin Daly's Under the Gaslight and, especially, John Oxenford's East Lynne.

Buggins comments on the news that Queen Victoria will bestow Imperial honours on the mayors of towns visited by H. R. H. Prince Alfred, the Duke of Edinburgh, during his visit to the colonies.

Buggins then turns his thoughts to the theatre observing that 'there has been very little this week in the way of amusements'. He does, however, write at some length about the production of Robert P. Whitworth's The Derby Day and notes the performances of John Maddison Morton's Your Life in Danger and the upcoming revival of John Oxenford's East Lynne.

The bulk of Buggins's column is taken up with his views on Henry Parkes and the latter's activities in Kiama. Some comment is reserved for the theatre: Buggins notes performances at the Prince of Wales Opera House of Rob Roy and The Heart of Midlothian during the first week of September 1868, and of the upcoming production of The Derby Day.

Buggins begins his weekly article with a reflection on life in a boarding house before embarking on recollections of his journalistic career in England and in Sydney.

Buggins then proceeds to discuss the new season at the Prince of Wales Opera House under 'the indefatigable lessee, Mr. W. Dind' and the productions (on separate nights) of Thomas William Robertson's Caste, W. T. Moncrieff 's Jewess; or, The Council of Constance and George Henry Lewes's The Game of Speculation.

Lastly, Buggins records a personal reflection on the death of Archdeacon John McEncroe.

Buggins comments on the Treason Felony Act before turning his attention to the colonial tour of the Scottish actor James R. Anderson. Buggins reflects on various performances by Anderson in Victoria and New South Wales before stating plainly: 'Mr. Anderson, there is nothing like the truth, however hard the truth may sometimes be – you were a failure in the colonies, – a failure, as dead as a nail in a pauper's coffin'.

Dion Boucicault's Colleen Bawn; or, The Brides of Garryowen was produced at the Royal Victoria Theatre in the week preceding Buggins's article. Buggins writes in some detail about Bouciault's shortcomings as both a playwright and a theatre lessee.

Finally, there are some general comments about recent theatrical productions in Sydney together with a note that the Prince of Wales Opera House has been 'elegantly redecorated' and 'the old Lyceum Theatre has undergone complete metamorphose, and was opened last Tuesday under the title of the "Varieties"'.

Buggins begins his weekly column with a reflection on the botanical names for plants. He then turns to theatrical matters, particularly the practice of country newspapers buying copy from Sydney offices. Buggins notes an instance, repeated in three country papers, where it is intimated that William Hoskins is 'very wrong and very ungentlemanly in not allowing free admission to all reporters'. Buggins, with the benefit of a long personal acquaintance with Hoskins, counters with a testimony to Hoskins's 'civility and courtesy to the gentlemen of the press'.

Buggins also mentions benefits to Miss Rosa Cooper and Mr Walter Cooper, and notes the forthcoming season of Thomas William Robertson's Caste at the Prince of Wales Opera House.

Buggins first discusses a case in which the acting police surgeon failed to attend, in a timely manner, an ill man (who later died) in the police cells.

Buggins then reflects on Mr Burford's benefit night at the Royal Victoria Theatre on 28 July 1868. The selected plays were Tom Taylor and Charles Reade's The King's Rival and Douglas Jerrold's Black Eyed Susan. Buggins suggests that Burford 'ruined his chances of a good attendance' by choosing the former, and proceeds to outline the play's history, plot and characters.

Buggins discusses, at some length, the recent productions at the Royal Victoria Theatre, particularly Walter H. Cooper's Colonial Experience

Buggins begins his weekly article with a reflection on the 'reckless drivers and mad headed riders' travelling along Sydney's George Street each day and endangering the public. He also addresses the subjects of snakes and of suicide.

Buggins then reports on a speech given by Sir Alfred Stephen in support of the Sydney Female Refuge. At the conclusion of Stephen's speech, the Bishop of Sydney addressed the gathering. The bishop attributed the careers of 'young thieves' to the reading of tales about Jack Shepherd and Dick Turpin and the careers of 'young prostitutes' to reading the 'bigamous and adulterous novels that disgrace our modern literature'.

Buggins's final topic is the recent crop of theatre offerings in Sydney. He comments briefly on the Royal Victoria Theatre's production of Charles Dickens and Wilkie Collins's No Thoroughfare and on an amateur production of Dion Bouicault's Colleen Bawn; or, The Brides of Garryowen. Buggins notes that Walter Cooper, author of Colonial Experience, will 'take a benefit' at the Victoria in the coming week.