J. W. Eedy J. W. Eedy i(A57431 works by) (Organisation) assertion (a.k.a. John W. Eedy)
Born: Established: Sydney, New South Wales, ;
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1 1 y separately published work icon The Theatre : An Illustrated Monthly Devoted to the Stage R. R. F. Hill (editor), 1905 Sydney : W. J. Moulton J. W. Eedy , Z1212213 1905 periodical (25 issues)

The Theatre introduced itself simply as a 'Monthly Theatrical Review'. Published in both Sydney and Melbourne, it was 'devoted to the advancement of Theatrical Interests'. Initially, it covered drama, popular and amateur theatre, music, and amusements, as well as authors, playwrights, managers, and stars, with many represented in black-and-white or one-tint photographs, caricatures, and cartoons. It argued strongly for state subsidy of local art and drama, and published stage gossip and sometimes barbed critique. From its fifth issue, it incorporated the earlier stage magazine, The Player.

At the end of 1905, a new editor promised stability and wider coverage, from 'all the other States and Colonies, and in England and America'. It became the key source of information and commentary on developments in both the theatrical and moving picture worlds. Each January issue contained a Resume of the Year. The activities of T.J. West and J.C. Williamson, their pictures and plays and stars, occupied much space well into the 'teens, but lesser players also received due regard: George Rignold, Annette Kellerman, C. Spencer, Apache dancers, Tittell Brune, Snowy Baker, Pathe Pictures, Hugh D. Mcintosh, Beaumont Smith, roller skating, vaudeville, and chorus girls.

In October 1912, the magazine converted into a limited company, but continued with limited change as The Theatre Magazine.
1 y separately published work icon Dick Whittington and His Cat Dick Whittington and His Cat : A Children's Play in Aid of the Royal Alexandra Hospital J. B. Monckton , Sydney : J. W. Eedy , 1905 Z859550 1905 single work musical theatre children's
1 y separately published work icon Ladies' Own Paper 1904 Sydney : J. W. Eedy , 1904-1905 Z1210886 1904 periodical The Editorial of Vol. 1, no. 3 (1 May 1904) declared the objective of the Ladies Own Paper: 'to be essentially a Ladies' Paper. Its purpose, therefore, is to deal with matters of special interest in the homes of Australia. Society's doings in the world at large, and Australia chiefly, educational movements, and fashions of the day in dress, millinery, plain and fancy work, house appointments, etc etc, the employments and recreations of girls and women, will be exploited in these pages, and valuable information given that cannot be found in other publications where men's interests predominate.' The magazine favoured Vice-Regal news and portraits, but advocated an Australian, pro-fruit diet over an English one. It recommended the wearing of sandshoes, but did not entirely condemn high heels. It reported on the activities of a range of women's organisations: the Women's Progressive Association of NSW, the National Council of Women, the International Council of Women, the Women's Christian Temperance Union, the Girls Friendly Society, the Women's Liberal League of NSW, and the Women's Political Educational League. A lecture by Miss Spence was accompanied by her photo; similarly, the article on 'A Woman's Enterprise - Sanitary Supply Co.' was accompanied by a photo of Vida Goldstein. The magazine's politics were explicitly anti-socialist, and it sustained an interest in events in Russia. It advocated the modernisation and mechanisation of the household, and published infomercials about its advertisers' products. Its target audience seems to have been young: running children's essay competitions; encouraging young women to take up 'lucrative avenues of employment' by instituting the Ladies Own Paper Guild (Vol. 1, no. 4), and publishing full-page portraits 'for their own rooms at home, or their schoolrooms, [so that] they may by pleasant means become acquainted with notable people, of the world generally, and Australia particularly' (Vol. 1, no. 4).
1 y separately published work icon The Pilot Cas-Hamba (editor), 1901 Sydney : 1901-1902 Z1326003 1901 periodical 'A paper of general, political, and social matters', The Pilot was a vehicle for the strong opinions of its owner and editor, Cas-Hamba (Mrs A. E. McDonald). She intended it 'to voice the wrongs of women and men, report meetings which are of great moment ... and to bring about reforms and more unity of womankind'. She declared it to be 'a woman's paper, but an advanced woman - not the raving, ranting, carping woman who, like many men, talk a lot - "there is nothing in it" - hollow as a jam tart and reasonless as the babbling of an idiot.' Her primary allegiance was to women's suffrage and to the technical and practical education that would allow both women and men to use their vote well. The Pilot supported the employment of barmaids, took a stance on the drink question in favour of wine, and opposed the censorship of books while immoral newspapers proliferated. It contained articles about mining, forests, the tariff, political profiles, the Kanaka question, federation, unions, and labour, as well as fashions, short stories, and a serial.
1 y separately published work icon Look Under Your Nose : A Realism Ralph Hodgson , Sydney : Edwards, Dunlop and Company , 1900 Z1031583 1900 single work novel
1 1 y separately published work icon The House that Jack Built Bert Royle , George Rignold , Sydney : George Rignold , 1894 Z1439316 1894 single work musical theatre pantomime fantasy

Staged with no less than twelve scenes in its three act division, along with the traditional harlequinade and transformation fantasy, and with many of the scenes again subdivided, the production was said to 'bristle with incident' (Sydney Morning Herald 24 December 1894, p.6). Topical allusions, 'atrocious puns' and 'awful political squibs' aimed at prominent local politicians were said to be numerous. Indeed, the Herald's theatre critic records that 'during a casual lapse into plot, one gathers from the dialogue that the house that Jack was to build was a new house for the Legislature of this long-suffering colony. This transpires in fitful flashes in the utterance of heroic metre that permits itself generous license as to scansion; but it is made perfectly plain in the elaborate set piece that is arranged to illustrate the idea' (6).

Musical highlights included the songs 'I Don't Suppose You Have' (sung by Florrie Forde), 'The Charming Slave Ballet;' and 'The Fire Ballet,' with the latter having been devised by George Rignold. Set in the witch's cave, and performed by the Fairy Butterflies, this sensation dance required the dancers to be surrounded by flames, an effect which was claimed had never been tried on any stage in Australia. The Sydney Morning Herald review describes the ballet thus:

Several highly materialised spooks... [dance] a la Macbeth round a cauldron. Presently they set fire to a pile of faggots underneath, and the cauldron is transformed into a sort of shell, wherein rests a beautiful maiden. The flames rise, surround her, and play furiously about her beautiful form, but she preserves a serene smile as one whose conscience is easy and who has a heavy life insurance policy. Then she rises and dances gracefully amid the flames, and soon she is joined by dozens of others (p.6).

Other highlights included 'Christmas in England - Revels in the Snow,' 'The Ascent of the Flying Machine,' and 'The Ogre's Palace of Cards

A number of performers from the 1894 Her Majesty's (Sydney) season were engaged for a tour under the title the Royal Variety and Ballad Company. Jack the Giant Killer's 'Grand Pantomime Harlequinade,' which had been invented and arranged by Will Perman, was staged as a second part extravaganza (with the first part being essentially a minstrel/vaudeville programme. Advertising for the Brisbane Theatre Royal season indicates that the harlequinade was staged in two scenes: Sc 1. 'Regent Street in Humpybong'; Sc 2. 'Any Place You Know Of.'

[Source: Australian Variety Theatre Archive]
1 y separately published work icon Australian Home Journal Australian Home Journal: A Monthly Illustrated Family Paper D. A. Vindin (editor), J. W. Eedy (editor), 1888 Sydney : 1888 Z1912860 1888 periodical
1 2 y separately published work icon Robinson Crusoe ; Or, Harlequin Friday and the King of Sugee E. Lewis Scott , Sydney : Edmund Holloway , 1874 Z861443 1874 single work musical theatre pantomime fantasy

In reviewing the premiere, the Empire's theatre critic accorded the overall production much praise, noting, in particular, Scott's intelligible plot, parodies, puns, and local hits, and the exceptionally good scenery produced by W. J. Wilson, 'a gentleman well-known to the Sydney public as a first-class scenic artist' (Empire 28 December 1874, p.3).

The story begins with Robinson Crusoe being torn from the arms of his betrothed, Polly, and press-ganged on the orders of Captain Will Atkins (who is also in love with Polly). With Crusoe aboard Atkin's ship, the demons Tyrant and Oppression, surrounded by their demonical slaves, hatch a plan to persecute him. Fortunately for Crusoe, Fairy Liberty manages to overhear the conspirators and 'in a pretty panorama shows how she will bring him safely through his troubles and dangers' (Empire 28 December 1874, p.3). When Crusoe is shipwrecked, he begins to lament his fate, but then meets up with four animals who not only keep him company but also help him survive. He later discovers footprints on the sand but, at almost the same time, he is discovered by a party of 'war-whooping' Sugeeans. His meeting with King Thackem-Whackem-boo and his sons Ratty Tim and Lanky Joe does not go well, and it is only through the intervention of Friday that Crusoe is saved from the Sugeeans' knives. Friday subsequently becomes Crusoe's head cook and handy man. In the meantime, Captain Atkins has also been wrecked upon the island and is in dispute with the islanders over his beautiful captive, Polly. When he finds out that Polly is on the island, Crusoe orchestrates a rescue and manages to defeat his foe in a terrific fight, thereby saving his beloved from both Atkins and the Sugeeans. The Fairy Liberty then manages to foil the evil plans of the demons Tyrant and Oppression by removing all the good people from danger and taking them to her own island home.

The incidents of the pantomime were played out in seven settings, a transformation and harlequinade:

Scene 1 The Old Jetty at Hull,

Scene 2 The Tyrant's Home (and Grand Panorama),

Scene 3 Bowers of Brilliant Beauty (and Grand Ballet),

Scene 4 The Island,

Scene 5 Crusoe's Hut,

Scene 6 The Lee Shore and Atkins' Wreck (and Grand Coconut Ballet),

Scene 7 The Island Home, and the Grand Transformation Scene.

Harlequinade - This was set in three scenes: Scene 1 A Well-known Street in the City, Scene 2 Somewhere in George Street, and Scene 3 The Grotto of Gloom.
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