First produced at The Park Theatre, Brooklyn, New York, 6 January 1868.
Performed at the Duke of Edinburgh Theatre, Melbourne, July 1868.
Jaques opens with: 'To-night I understand, the Duke of Edinburgh [aka The Haymarket Theatre] is to be closed for a possibly uncertain period. More is the pity, especially as Mr. Bellair and Mr. Gill have made a brave stand against the difficulties which have beset them. They ought to have succeeded, for they have tried very hard to succeed, but as they not succeeded they are to be sympathised with in more than a matter of course fashion, for they began their labours, I am sure, with an honest endeavour to do their best to make the theatre prosperous.'
Jaques reflects that 'three theatres might be made to pay in Melbourne if each would be content to adopt a specific place in the dramatic field of action', but he confesses that 'at this present moment the theatrical horizon in Melbourne looks very gloomy'.
Jaques believes a further factor in the sporadic profitability of Melbourne's theatres is due to the character and business acumen of the managers. While exempting the present managers of the Duke of Edinburgh from his discussion, Jaques considers 'the low ebb to which theatrical institutions have fallen is in some measure due to the discreditable connexion they have formerly had with unprincipled adventurers'.
Finally, Jaques reviews the recent production of No Thoroughfare, noting that is an 'American edition' and 'not the version lately produced at the Adelphi, London'.
Jaques opens with: 'To-night I understand, the Duke of Edinburgh [aka The Haymarket Theatre] is to be closed for a possibly uncertain period. More is the pity, especially as Mr. Bellair and Mr. Gill have made a brave stand against the difficulties which have beset them. They ought to have succeeded, for they have tried very hard to succeed, but as they not succeeded they are to be sympathised with in more than a matter of course fashion, for they began their labours, I am sure, with an honest endeavour to do their best to make the theatre prosperous.'
Jaques reflects that 'three theatres might be made to pay in Melbourne if each would be content to adopt a specific place in the dramatic field of action', but he confesses that 'at this present moment the theatrical horizon in Melbourne looks very gloomy'.
Jaques believes a further factor in the sporadic profitability of Melbourne's theatres is due to the character and business acumen of the managers. While exempting the present managers of the Duke of Edinburgh from his discussion, Jaques considers 'the low ebb to which theatrical institutions have fallen is in some measure due to the discreditable connexion they have formerly had with unprincipled adventurers'.
Finally, Jaques reviews the recent production of No Thoroughfare, noting that is an 'American edition' and 'not the version lately produced at the Adelphi, London'.
