Cirrus@Austlit

OVERVIEW

An amateur theatrical organisation founded in 1903, the Sydney Muffs were led up until mid-1909 by its lead actor/director and manager, H. Stanley McKay. The Muffs were arguably one og the most respected non-professional theatre companies operating in Sydney during the first decade of the twentieth century, drawing frequent praise from industry magazines like The Theatre: An Illustrated Monthly Devoted to the Stage and Player. Several of its productions between 1903 and 1909 were world premieres, including The Amateur Burglar (1906), written by the emerging dramatist W. J. Curtis (q.v.), and Arthur H. Adam's (q.v.) play, The Tame Cat (q.v.), produced in 1908. The company was also highly regarded for its charity work, with proceeds from many of its seasons being donated to various causes.

Specialising in a range of works, from Shakespeare, to classics and contemporary social dramas, the company became both a training ground for emerging actors and an a resptable organisation for former (or even current) professionals. Among the more high profile actors to have been involved with the Muffs at various times were : Fred Stephenson, his mother Clara Stephenson, Lillian Bethal, Nellie Stewart and Stella Chapman.

Some of the Muffs' more popular works staged during the McKay years were : The Shaughraun, Rob Roy, Uncle Tom's Cabin, Caste, East Lynne and David Garrick. It's Shakespearian repertoire included : Romeo and Juliet, As You Like It, Macbeth and The Merchant of Venice.

DETAILED BIOGRAPHY

1903 - 1906 : The Sydney Muffs amateur theatrical company was co-founded in 1903 by H. Stanley McKay and others. It's first ever performance was at the Criterion Theatre in July 1903 with the staging of Henry Hamilton's domestic drama, Harvest. At least one critic later said of the production that it was possibly the finest amateur performance ever staged in Sydney to that date (Theatre: An Illustrated Monthly June 1906, p13). Over the next few years the company's repertoire included drama, comedy, farce and even vaudeville. The first review of a McKay/Sydney Muffs production located as part of this survey is a 1904 Player magazine report on a production staged at the Queen's Hall (Sydney):

• The Queen's Hall was the scene of operations by the Sydney Muffs on the 23rd of August, when a very creditable amateur rendering of T. W. Robertson's great comedy, Caste was given under the direction of Col. D'Orsay Ogden.... H. Stanley McKay must be congratulated on his capital character sketch of Sam Gerridge (15 September 1904, p22).

The following month, the same magazine recorded : 'H. Stanley McKay and his band are resting after their production of Caste, but a new piece will be put in rehearsal almost immediately. A tragedy will probably be staged, with the balcony scene from Romeo and Juliet as a forerunner' (15 October 1904, p22). Under McKay's leadership the Sydney Muffs established a considerable reputation in amateur circles from quite early on, leading to frequent reviews being published in the Player and Theatre magazines. In this respect, one of Theatre's critics noted in November 1905:

• The Sydney Muffs have not evinced their usual activity of late, their efforts being restricted to suburban performances. Rumour however speaks of their reappearance at the Criterion Theatre on Dec. 21st, but the name of the piece selected has not been made known. Stanley McKay is still the moving spirit in all the club's undertakings, which have lately assumed a Shakespearian bent with much success (p7).

Of the Sydney Muffs' early productions, much praise was accorded The Private Secretary (see Player 15 May 1905, p26; and Theatre: An Illustrated Monthly 1 June 1906, p9). The troupe's many Shakespearian scenes, including The Merchant of Venice, Romeo and Juliet and Macbeth, were also often accorded positive criticism. The Theatre wrote of McKay's role as Shylock, for example, that in undertaking 'this big step up from Gerridge' he showed much promise and versatility (September. 1905, p13). A June 1906 Theatre overview of the company to that date indicated, too, that a performance of Tobin's masterpiece, The Honeymoon (Theatre Royal) was one of their best all-round productions (p13).

The Muffs toured regularly around Sydney during the McKay years (1903-09), often raising money for city and suburban charities. Some £400 is said to have been raised by mid-1906, a not inconsiderable amount for an amateur theatrical society (Theatre: An Illustrated Monthly 1 June 1906, p13). An advertisement placed in an October edition of the Sydney Morning Herald provides additional insight into the company's movements, with their suburban tour prior to the Christmas vacation travelling from Mosman Town Hall, to the Liverpool School of Arts, Medlow Baths Hydro and finally the Criterion Theatre. An al fresco performance of As You Like It was also to be given at the A.N.A. Exhibition (28 October 1905, 2). One particular highlight of the year was the troupe's December 14 production of Caste at the Palace Theatre which was said to have been packed - due in no small part to Nellie Stewart's guest appearance at the top of the bill, performing ''Op O' My Thumb' (see Theatre: An Illustrated Monthly January 1906, p23; and June 1906, p13). Although McKay invariably attracted much of the attention of critics, the extent to which the other members of performers expanded their abilities under his direction was often raised. One of the founding actors Lillian Bethell, for example, reportedly went on to establish herself in the English provinces and Scotland within a year of leaving the Muffs (Theatre: An Illustrated Monthly June 1906, p13). Another highlight of 1906 occurred when the company premiered The Amateur Burglar (Criterion Theatre, 1-2 August), written by the emerging dramatist W. J. Curtis (q.v.).

1907 - 1909 : According to reviews published around 1907 and 1908 the Sydney Muffs continued to raise the bar in so far as their performances were concerned. A highlight of 1907 was their short season at the Palace Theatre, beginning 18 December, which saw them produce Pocock's operatic drama Rob Roy in collaboration with the Highland Society of NSW. The production spared no expense, including a full orchestra and 40 voice choir (Theatre: An Illustrated Monthly December 1907, p18). The following year, on 11 July, the Muffs gave Arthur H. Adam's (q.v.) play, The Tame Cat (q.v.) its world premiere at charity matinee at the Criterion Theatre. McKay later said of this venture that the play was a 'clever comedy of manners' and that the one show resulted in a profit of £285 ('What About the Rabbits' p41). In the same Theatre Magazine article, McKay also makes mention of the fact that the Muffs staged in the Australia the first ever 'Australian Shakespeare Festival' (although no specific date is given). Presented at the Palace Theatre in Sydney, the company produced four of the Bard's plays. 'On the last day of the season,' recalls McKay, 'we played As You Like It in the afternoon and Romeo and Juliet at night, both with the same cast. In these productions Elsie Prince made a hit as Rosalind and Juliet' (p41).

In late 1908 the Muffs revived The Merchant of Venice 'on a very complete scale at the Royal Standard (11-13 Nov.). The theatre was then being leased and managed by Harry Clay (with whom McKay would later form several successful, though invariably brief, alliances). It is reported that 'the resources of our foremost amateur dramatic company club are so powerful that the management were able to present a new Portia every night' (Theatre: An Illustrated Monthly December 1908, p19). Of McKay's role as Shylock, the same critic wrote, it is 'well and favourably known to play-goers. He realised more than ever the implacability, fierce-hatred, and subtle cunning of the old Jew, and his acting in the trial scene was very fine' (p19).

1909, the final year of Stanley Mckay's involvement with the Sydney Muffs, began where the previous had left off. 'The Sydney Muffs production of Romeo and Juliet at the Palace during [last] month,' wrote a Theatre critic, 'has brought them any amount of kudos... Mr Stanley McKay may well congratulate himself on the result of his labour' (March 1909, n. pag.). A little over a month later the magazine further praised the 'Stanley McKay-Sydney Muffs Easter week performance' of Uncle Tom's Cabin at Clay's Standard Theatre, with special mention going to Fred Stephenson, the 19 year-old son of long-time member, Clara Stephenson. Another member of the company was Stella Chapman, a leading Sydney-based elocutionist and pedagogue since 1905 Plays toured by the company around this time also included, The Shaughraun, East Lynne and David Garrick. The latter play was given its debut by the company before a crowded Criterion house on 4 June.

The company's reputation by 1909 was such that it was able to call on professional actors form time to time to strengthen the line-up. With David Garrick, for example, The Theatre's critic records that he had obtained the services of Ruby Coxhead, late of the Pollard Company, and whom the critic noticed brought much experience in acting and make-up (July 1909, p19). Also among the cast was Ada Fitzgerald, daughter of barrister John D. Fitzgerald (and cousin of Jim Gerald). The possibility that the Muffs could no longer maintain the level of performance that McKay desired, and hence his possible motivation for leaving the company is hinted at in the same review, when the critic implies that the company had not quite achieved what they hoped set out. 'The Superiah Critic [sic] would doubtless remark that the Muffs aimed too high,' notes the review, 'but they didn't - they couldn't. [However] instead of being jibed by boy critics of the evening press who can only act one thing - the fool, The Muffs should be encouraged in every possible way' (p19).

It is believed that McKay severed his relationship with both the Sydney Muffs and the Bank of New South Wales sometime around late August 1909. One of his last productions with the Muffs was the one act playlet, A Martyr to Principle (ca. 25 Aug.) which he co-wrote with Sumner Locke. The Theatre records of this production :

• By courtesy of Mr Bland Holt, who generously lent the Theatre Royal ... the Sydney Muffs, who are ever ready to lend a hand for charity's sake, staged Niobe and A Martyr to Principle in aid of St. Martha's Industrial Home, Leichhardt. The theatre was crowded. Niobe, which followed the original playlet A Martyr to Principle, was thoroughly appreciated by the audience, but the interest really centred in the curtain-raiser, which was written by Sumner-Locke and Stanley McKay, the well-known director of the Sydney Muffs (September 1909, p19).