Cirrus@Austlit

A review of the performance of John Poole's Paul Pry, Henry Thornton Craven's Milky White and Morris Barnett's The Serious Family at the Theatre Royal, and of Martial, the Adventurer at the Duke of Edinburgh Theatre, Melbourne, August 1868.

A review of the performances of H. J. D'Ebden's 'Willy O'Meara', William Dimond's Stage Struck and John Oxenford's East Lynne at the Duke of Edinburgh Theatre, and of William Shakespeare's Much Ado about Nothing and W. M. Akhurst's Siege of Troy at the Theatre Royal, Melbourne, August 1868.

A review of the performances of Richard Brinsley Butler Sheridan's The Rivals and Dion Boucicault's The Corsican Brothers at the Theatre Royal, Melbourne, August 1868.

A review of the performance of Dion Boucicault's London Assurance and a scene from James Sheridan Knowles's The Hunchback at the Duke of Edinburgh Theatre, 1 August 1868. Jaques pays particular attention to the acting, especially the roles undertaken by Marie St Denis.

Jaques also reviews the performance of John Augustin Daly's Leah the Forsaken at the Theatre Royal, August 1868.

Jaques offers a detailed assessment of the prospects for a re-opened Duke of Edinburgh Theatre (under new management) and notes that the first production, on 1 August 1868, will be Dion Boucicault's comedy London Assurance.

Jaques also comments on productions at other Melbourne theatres and concert halls.

Jaques provides an overview of theatrical offerings in Melbourne during the previous week, focusing particularly on the performances of the Nathan Juvenile Troupe at the Theatre Royal and noting W. B. Gill's farewell benefit at the Princess's Theatre. Jaques also reports that the Duke of Edinburgh Theatre is to re-open.

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'.

A review of the performances of Dion Boucicault's The Octoroon, of W. B. Gill's Our City, and of Tom Taylor's The Ticket-of-Leave Man, all at the Duke of Edinburgh Theatre, Melbourne, July 1868.

In his weekly overview of Melbourne's theatrical life, Jaques concentrates on the return to Melbourne of operatic soprano Anna Bishop and on the farewell performances of actor Walter Montgomery. Jaques also notes the performance of Dion Bouciault's Rip Van Winkle at the Duke of Edinburgh Theatre, mentions the upcoming production of W. B. Gill's Our City ('having been six weeks in preparation'), and comments briefly on the Gourlay family's entertainments at the Polytechnic.

A review of the performance of John Augustin Daly’s Under the Gaslight at the Duke of Edinburgh Theatre, Melbourne, June 1868.

Jaques also reviews the various farewell performances of Walter Montgomery at the Theatre Royal.

A review of the performance of Edward Bulwer Lytton's Richelieu at the Duke of Edinburgh Theatre, Melbourne, June 1868.

Jaques also notes briefly productions at the Theatre Royal.

Jaques provides a detailed report on Walter Montgomery's benefit appearances, particularly his recitals, declaring that Montgomery's rendition of Charles Dickens's 'The Bloomsbury Christening' 'offers one of the most wonderful instances I have seen of facial expression, and the rapidity of the change is no less remarkable than the perfect appropriateness'.

Jaques notes Melbourne's recent theatrical offerings (in less detail than his usual reviews), paying some attention to the production of Dion Boucicault's The Willow Copse at the Duke of Edinburgh Theatre.

A review of a performance of Jame Robinson Plache's Not a Bad Judge at the Theatre Royal, Melbourne, May 1868, and of William Leman Rede's The Rake's Progress and Douglas William Jerrold's Black-Eyed Susan at the Duke of Edinburgh Theatre (aka Haymarket Theatre), May 1868.

Jaques' review of a performance of Thomas William Robertson's Caste at the Duke of Edinburgh Theatre is preceded by a lengthy overview of of the career of British actor Charles Panrucker Viner (whose stage name was Charles Vincent). Panrucker died in Melbourne on 10 May 1868 having been thrown by his horse ten days previously.

Jaques reviews productions of Lady of Lyons, Macbeth, Othello and The Merchant of Vencie at the Theatre Royal, and Under the Gaslight at the Duke of Edinburgh Theatre, focusing particularly on the quality of the acting.

Jaques reviews productions of Hamlet and Much Ado about Nothing at the Theatre Royal, and Under the Gaslight at the Duke of Edinburgh Theatre, focusing particularly on the quality of the acting.

A review of the April 1868 Duke of Edinburgh (aka Haymarket) Theatre productions of Thomas William Robertson's Caste and Joseph Stirling Coyne's The Water Witches and the Theatre Royal production of Pauline; or, A Night of Peril.

With the impending closure at the Theatre Royal of local playwright William Akhurst's Paris the Prince and Helen the Fair; Or, The Giant Horse and the Siege of Troy, Jaques hopes for 'more to come' from Akhurst's hand, and expresses 'a strong objection to gentlemen who, being in the colony and writing plays, are put on one side for authors whose only recommendation is that they live on the north side of the equator. I hold to the opinion that we have the materials, and plenty of the workmen too, suitable for the production of suitable plays in the colony.'

A review of the April 1868 Duke of Edinburgh Theatre production of Thomas William Robertson's Caste and the Theatre Royal's production of William Akhurst's burlesque Paris the Prince and Helen the Fair.

Jaques reviews several plays in production at Melbourne theatres, focusing mainly on the quality of the acting and the scenery.