DOCSLIB.ORG

The Capitol: Its Producer, Director, Auteurs and Given Circumstances

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Capitol: Its Producer, Director, Auteurs and Given Circumstances University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 1998 The aC pitol: its producer, director, auteurs and given circumstances : an epic of a "lucky" theatre Lynne Dent University of Wollongong Recommended Citation Dent, Lynne, The aC pitol: its producer, director, auteurs and given circumstances : an epic of a "lucky" theatre, Doctor of Philosophy thesis, , University of Wollongong, 1998. http://ro.uow.edu.au/theses/2114 Research Online is the open access institutional repository for the University of Wollongong. For further information contact Manager Repository Services: [email protected]. The Capitol: Its Producer, Director, Auteurs and Given Circumstances: An epic of a "lucky" theatre. A thesis submitted in fulfilment of the requirements for the award of the degree MA (HONS) from UNIVERSITY OF WOLLONGONG by LYNNE DENT BA (HONS) FACULTY OF CREATIVE ARTS 1998 Abstract Sydney's Capitol theatre stands on the oldest site on which there has been theatrical activity. It is significant for its historic architecture, distinctive interior and place in popular entertainment. Using a theatre-based analogy, this study sought to explore the history of the site, building and theatres focussing on the involvement of the City Council, Chief Secretary's Department and its Lessees, from the height of its popularity to its loss of public favour and through changing circumstances. Research was undertaken in the archives of Sydney City Council, Department of Local Government and Cooperatives and National Trust of Australia, as well as newspaper sources held by many libraries. Secondary sources included texts of authorities in the areas of architecture, theatre, cinema, related government legislation and publications of the Australian Theatre Historical Society (now the Australian Cinema and Theatre Society). In addition, a number of people involved in the modem restoration work and who worked in the building gave talks at seminars and openings, interviews to the author and wrote letters containing more invaluable information. The intention was to contribute to the existing body of knowledge in a number of technical, theatrical, administrative and historic elements of this important theatre and, where possible, link it to the social life of the city's population within the arbitrary period from 1860s to 1983. The only information that remained constant and accessible was that related to the administrative bodies. Contrary to initial expectations, findings show administrative incompetence by its owner, State authorities' failure to enforce government regulations and serious manipulation by its longest lessee, while others bore the brunt of neglect. The Capitol was lucky' to have survived long enough to be restored and extended. c^r^er- p*<Ker *r*A H^ Street Acknowledgments Acknowledgment is due to all the people who willingly assisted in this research and to whom I am very grateful. The following is generally in chronological order: My immediate and extended family for their interest, encouragement, 'pushing', patience, funding, collection of information and help in crises, as well as for their memories. Special thanks to Marie Lester, Marie Haastrup and especially my husband John. Dr. Ian McGrath for his supervision, encouragement, extreme patience and friendship. His knowledge of vital information on the theatre industry and technology was indispensable. The students of Theatre Technology THEA 106 in 1993 for their research on the Capitol. A considerable amount of prime source information which they found, has not been duplicated elsewhere. The work of Rosanna Caltabiano, Gareth Gillham, Nerida Noon and Martin Vella deserve special mention. Many Librarians at the Library of the University of Wollongong, including Catriona McGuirk, Chrissy Ralston and Lynne Wright. The former President, Kevin Cork,1 Archivist, Les Tod, Secretary, Mark Love, Patron, Professor Ross Thome, Ian Hanson, Bob Harper and member Munay (whose last name I failed to record) of the Australian Theatre Historical Society (ATHS) for their constant encouragement, information and assistance,. The society has now changed its name to the 'Australian Cinema and Theatre Society, Inc', but has retained the title, Kino, for its journal. Sadly, gratitude must be expressed posthumously for his interest and encouragement. Kevin was President during this work. He resigned to complete his MA (Hons) Degree (by research) in Humanities at the University of Western Sydney (Nepean) and had completed the second draft of his PhD thesis at the time of his death in March this year (1998). 11 The Public Information Officer, Catharine Ambroz and Archivist, Gail Hesselman of the National Trust of Australia (NSW). The Librarians of the State and Mitchell Libraries. The Archivists of the State Archives at Kingswood. The Department of Local Government and Cooperatives, the Building Branch Manager, John Christopher and Garry Pearce (who was interested in, supervised and aided my research with the department), as well as the Government Architect, Serge Fijac, and other members of staff involved with the Capitol and theatres generally. Especially considering the difficulties involved with consulting its staff and reading the files, this Branch made its records readily available at its own offices, which was much easier than it would have been if the files remained in the State Archives at Kingswood and read on Saturdays. Special thanks must go to the staff of the Sydney City Council Archives, Manager, Mark Stevens, Archivists, Angela McGing and Renato Perdon, and Souphaphone Sounthorn. Their interest and help can never be forgotten and was integral to this work. Of all the Council departments, the staff of this one deserves the highest respect for their own work in historical research, publications and exhibitions, and their willing encouragement to other researchers and historians. The Staff at the Denis Wolanski Library at the Sydney Opera House. Mark St. Leon. Mervyn and Emily King. Geoff Geeves. Harry M. Miller. iii Graeme Macey of Lawrence Nield and Associates Pty. Ltd. Tim Tait of Ipoh Garden Developments (Aust.) Pty. Ltd. Mary Knaggs of the Heritage Council. Wollongong City Library. Martin de Boer, Manager of the Natural Gas Company, Illawarra Branch. Steven Ellis, Archivist of Integral Energy. The staff of Wollongong City Library. Don Harper. Janet Binns Acknowledgment is given to the valuable, previous research undertaken by Professor Ross Thome, Kevin Cork and Les Tod, Ian Hanson, James Semple Kerr, Kate Blackburn, Lawrence Nield and Associates, Blair Zemski and Associates, Shirley Fitzgerald, Rosemary Bloomham, Rice Daubney, Diane Collins and Ina Bertrand, John Tulloch. Fortunately, most of the people approached for this research, were willing to help. Some mistakenly doubted they would be of assistance, while others, whose initial doubts that I would find archive records dry and lack interest, had to be convinced otherwise. There are many gaps in this study, brought about by the impossibility to uncover all sources of information in the time available; lack of specialised knowledge on my part, especially in areas like architecture, engineering, law and real estate; the absence of people, who could provide an oral history of the venue. Of the lessees, I thank Harry M. Miller for being willing to speak with me. Others could not be contacted and some others did not respond to my enquiries. iv This research has been very interesting and by the nature of the prime sources studied in detail, it has possibly taken longer than would normally be expected. Investigative study has challenged many of the assumptions raised during the research. A few assumptions were realised, while others were debunked. It has also been an interesting exercise trying to trace the sources of rumours about the building and to attempt to find additional material about anecdotal reports of certain elements or events, reported to have taken place in relation to the theatre. Neither of these exercises was always successful. It was necessary to overcome the confusion created by references to other Hippodromes in Sydney. The Hippodrome in the Haymarket that is mentioned by Margaret Williams and referred to by Eric Irvin, predates the building on the Capitol site and had no link to either the Hippodrome or the Capitol.2 Whereas, the Hippodrome File held by the New South Wales Archives was established in Goulburn Street. It was used to show the first explicit sex films in Sydney during the 1970s and never complied with the regulations of the Theatre and Public Halls Act of 1908 or was licensed.3 Margaret Williams, Australia on the Popular Stage: 1829 - 1929: an historical entertainment in six acts (Melbourne: Oxford UP, 1983) 195-8, 202; Eric Irvin, Australian Melodrama: eighty years of popular theatre (Sydney: Hale and Iremonger, 1981) 87. Archive staff did not know the address of this Hippodrome and said the only way to know was to view the file, which involved unnecessary travel, time and expense. New South Wales State Archives (Kingswood): 80/1538 Parts A and B, Shelf Location 17/3545: Hippodrome. Sydney; "Sex comes to the Citadel." Sun 3 Jul. 1974: [n.p.]. Table of Contents Introduction 1 The Haymarket: A Social Hub 18 Belmore Markets: The Theatre's "Infancy" 32 Hippodrome: The "Juvenile" Aladdin's Palace 51 Hippodrome - An Unfulfilled Promise 73 A Time of Change: The "Engenue" Period 90 The Capitol: "Magnificent Shrine of the Silent Art" 112 A
Load more

Recommended publications
  • Arts and Culture Unnumbered Sparks: Janet Echelman, TED Sculpture Foreword
    Arts and Culture Unnumbered Sparks: Janet Echelman, TED Sculpture Foreword Imagine a world without performing or visual arts. Imagine – no opera houses, no theatres or concert halls, no galleries or museums, no dance, music, theatre, collaborative arts or circus – and in an instant we appreciate the essential, colourful, emotive and inspiring place that creative pursuits hold in our daily life. Creating opportunities for arts to flourish is vital, and this includes realising inspiring venues which are cutting edge, beautiful, functional, sustainable, have the right balance of architecture, acoustics, theatrical and visual functionality and most importantly are magnets for artists and audiences, are enjoyable spaces and places, and allow the shows and exhibitions to go on. 4 Performing Arts Bendigo Art Gallery 5 Performing Arts Arts and Culture Performing and Visual Arts 03 08 – 87 88 – 105 Foreword Performing Musicians, Arts Artists, Sculptors and Festivals 106 – 139 140 – 143 144 Visual Arup Services Photography Arts Clients and Credits Collaborators Contents Foreword 3 Victoria Theatre and Concert Hall 46 Singapore South Bank Studio, Queensland Symphony Orchestra 50 Australia Performing Marina Bay Sands Theatres 52 Arts 8 Singapore Elisabeth Murdoch Hall Federation Concert Hall 56 Melbourne Recital Centre 10 Australia Australia Chatswood Civic Place 58 Sydney Opera House 14 Australia Australia Carriageworks 60 Glasshouse Arts, Conference and Australia Entertainment Centre 16 Australia Greening the Arts Portfolio 64 Australia Melbourne
    [Show full text]
  • Kelson Nor Mckernan
    Vol. 5 No. 9 November 1995 $5.00 Fighting Memories Jack Waterford on strife at the Memorial Ken Inglis on rival shrines Great Escapes: Rachel Griffiths in London, Chris McGillion in America and Juliette Hughes in Canberra and the bush Volume 5 Number 9 EURE:-KA SJRE:i:T November 1995 A magazine of public affairs, the arts and th eology CoNTENTS 4 30 COMMENT POETRY Seven Sketches by Maslyn Williams. 9 CAPITAL LETTER 32 BOOKS 10 Andrew Hamilton reviews three recent LETTERS books on Australian immigration; Keith Campbell considers The Oxford 12 Companion to Philosophy (p36); IN GOD WE BUST J.J.C. Smart examines The Moral Chris McGillion looks at the implosion Pwblem (p38); Juliette Hughes reviews of America from the inside. The Letters of Hildegard of Bingen Vol I and Hildegard of Bingen and 14 Gendered Theology in Ju dea-Christian END OF THE GEORGIAN ERA Tradition (p40); Michael McGirr talks Michael McGirr marks the passing of a to Hugh Lunn, (p42); Bruce Williams Melbourne institution. reviews A Companion to Theatre in Australia (p44); Max T eichrnann looks 15 at Albert Speer: His Battle With Truth COUNTERPOINT (p46); James Griffin reviews To Solitude The m edia's responsibility to society is Consigned: The Journal of William m easured by the code of ethics, says Smith O'BTien (p48). Paul Chadwick. 49 17 THEATRE ARCHIMEDES Geoffrey Milne takes a look at quick changes in W A. 18 WAR AT THE MEMORIAL 51 Ja ck Waterford exarnines the internal C lea r-fe Jl ed forest area. Ph oto­ FLASH IN THE PAN graph, above left, by Bill T homas ructions at the Australian War Memorial.
    [Show full text]
  • Conservation Management Plan
    3.4. HISTORICAL TIMELINE The following tables contains a chronology of significant events in the history of the site and the subject building as summarised from Sections 3.2 and 3.3 and building/development application information drawn from the City of Sydney Planning Cards. The development of the site can generally be separated into four phases of development, as follows: 1. New Belmore Market 1893 - 1913 2. Wirths Hippodrome 1914 – 1926 3. Capitol Theatre 1927 – 1991 4. Restored Capitol Theatre 1992 – Present Table 4 – Historical Timeline Date Event 1866 Construction of Belmore Markets begins on a site bounded by Castlereagh, Hay, Pitt and Campbell. 1869 Belmore Markets opens on 14 May. Phase 1: New Belmore Markets 1893 Second Belmore Markets (Capitol site) open. Used for theatrical and circus performances on Saturday nights. 1910 Council decides that the Tivoli and Capitol (two theatres) would be erected on the sites of the old and new Belmore Markets. 1912 Wirth Bros takes a 10-week lease on the new Belmore Theatre for a ‘circus and hippodrome’. The council claimed the auditorium could be used as hippodrome, circus, theatre, opera house, concert hall, vaudeville entertainment hall or for photo plays (early silent motion pictures). Phase 2: Wirths Hippodrome 1914-1915 Belmore Markets dismantled and re-erected as the Hippodrome – home of Wirths Circus in Australia. The detail of the market walls was erected 10 metres higher. 1916 On April 3, Wirths Circus and Hippodrome opens – the largest theatre in Australia. The 13-metre ring in front of the proscenium arch had a hydraulically operated floor which dropped to fill with water for aquatic events.
    [Show full text]
  • The Australian Theatre Family
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Sydney eScholarship A Chance Gathering of Strays: the Australian theatre family C. Sobb Ah Kin MA (Research) University of Sydney 2010 Contents: Epigraph: 3 Prologue: 4 Introduction: 7 Revealing Family 7 Finding Ease 10 Being an Actor 10 Tribe 15 Defining Family 17 Accidental Culture 20 Chapter One: What makes Theatre Family? 22 Story One: Uncle Nick’s Vanya 24 Interview with actor Glenn Hazeldine 29 Interview with actor Vanessa Downing 31 Interview with actor Robert Alexander 33 Chapter Two: It’s Personal - Functioning Dysfunction 39 Story Two: “Happiness is having a large close-knit family. In another city!” 39 Interview with actor Kerry Walker 46 Interview with actor Christopher Stollery 49 Interview with actor Marco Chiappi 55 Chapter Three: Community −The Indigenous Family 61 Story Three: Who’s Your Auntie? 61 Interview with actor Noel Tovey 66 Interview with actor Kyas Sheriff 70 Interview with actor Ursula Yovich 73 Chapter Four: Director’s Perspectives 82 Interview with director Marion Potts 84 Interview with director Neil Armfield 86 Conclusion: A Temporary Unity 97 What Remains 97 Coming and Going 98 The Family Inheritance 100 Bibliography: 103 Special Thanks: 107 Appendix 1: Interview Information and Ethics Protocols: 108 Interview subjects and dates: 108 • Sample Participant Information Statement: 109 • Sample Participant Consent From: 111 • Sample Interview Questions 112 2 Epigraph: “Happy families are all alike; every unhappy family is unhappy in its own way. Everything was in confusion in the Oblonsky’s house. The wife had discovered that the husband was carrying on an intrigue with a French girl, who had been a governess in their family, and she had announced to her husband that she could not go on living in the same house with him.
    [Show full text]
  • AUSTRALIAN ROMANESQUE a History of Romanesque-Inspired Architecture in Australia by John W. East 2016
    AUSTRALIAN ROMANESQUE A History of Romanesque-Inspired Architecture in Australia by John W. East 2016 CONTENTS 1. Introduction . 1 2. The Romanesque Style . 4 3. Australian Romanesque: An Overview . 25 4. New South Wales and the Australian Capital Territory . 52 5. Victoria . 92 6. Queensland . 122 7. Western Australia . 138 8. South Australia . 156 9. Tasmania . 170 Chapter 1: Introduction In Australia there are four Catholic cathedrals designed in the Romanesque style (Canberra, Newcastle, Port Pirie and Geraldton) and one Anglican cathedral (Parramatta). These buildings are significant in their local communities, but the numbers of people who visit them each year are minuscule when compared with the numbers visiting Australia's most famous Romanesque building, the large Sydney retail complex known as the Queen Victoria Building. God and Mammon, and the Romanesque serves them both. Do those who come to pray in the cathedrals, and those who come to shop in the galleries of the QVB, take much notice of the architecture? Probably not, and yet the Romanesque is a style of considerable character, with a history stretching back to Antiquity. It was never extensively used in Australia, but there are nonetheless hundreds of buildings in the Romanesque style still standing in Australia's towns and cities. Perhaps it is time to start looking more closely at these buildings? They will not disappoint. The heyday of the Australian Romanesque occurred in the fifty years between 1890 and 1940, and it was largely a brick-based style. As it happens, those years also marked the zenith of craft brickwork in Australia, because it was only in the late nineteenth century that Australia began to produce high-quality, durable bricks in a wide range of colours.
    [Show full text]
  • This Entire Document
    DEVOTED TO BASE BALL BICYCLING GUNS VOLUME 29, NO. 18. PHILADELPHIA, JULY 24, 1897. PRICE, FIVE CENTS. BREAKS AVERTED. ARE ON THEIR WAY HOME YIA TWO MINOR LEAGUES MAKE MID- EUROPE. SEASON SHIFTS, To Play in England Before Returning The Eastern League Transfers the Ro to Australia Much Pleased With chester Team and Franchise to Their Treatment in This Country, Montreal and the Texas League Though Their Trip Was a Failure, Shifts Denison©s Clnl) to Waco, Thirteen members of the Australian base For the first time in years a mid-season ball team sailed ou the 15th inst. from New change has been made in the Eastern York ou the American liner "St. Paul" for League circuit. Some time ago a stock England. Those in the party were: Man company was organized in Montreal by Mr. ager Harry Musgrove, Charles Over, Charles W. H. Rowe, with ample capital, with a Kemp, Walter G. Ingleton, Harry S. Irwin, view to purchasing an Eastern League fran Peter A. McAllister, Rue Ewers, Arthur chise. Efforts were made to buy either tlie K. Wiseman, Alfred S. Carter, J. H. Stuck- "Wilkesbarre or Kochester Clubs, both of ey, John Wallace and Frank Saver. which were believed to be in distress. The MU SGKOVE© S PLANS. former, however, was braced up and "We shall carry out our original inten will play out the season. Rochester tion ,of a trip around the world," said Mr. was on the fence regarding the Musgrove. ©-We shall probably play some proposition made when fate stepped in and de games in London and other parts of iCngland cided the question.
    [Show full text]
  • Nea1re Organ Bombarde
    nea1reOrgan Bombarde OURNALof the AMERICAN THEATREORGAN ENTHUSIASTS •' .5 -~ =~a... I -~~•• .-: -~-.I.I BACK IN ACTION ... THE SAN DIEGO FOX 4-31 MORTON ... Story on page 5 1 4 • ( ; • • • ~ HERE IT IS! The Surprise Record Hit of the 1968 A.T.O.E. National Convention! SOUND CITY 1801 (Stereo only) "JUST PLAIN BILL" BILL BLUNK at the 5-24 Marr & Colton A CAVALCADE OF TOP TUNES OF THIS GENERATION AND THE LAST, DONE IN BILL'S POPULAR AND ENTERTAINING THEATER ORGAN STYLE Send Check or Money Order to: Only $5.25 SOUND CITY Postpaid 4136 N.E. 28th Ave., Portland, Ore. 97211 october 1968 2 AMERICANTHEATRE UKb"'"' ~IETY ARCHIVESLIBRARY THE COVER PHOTO EDITH STEELE was the glamour gal of the San Diego Fox in 1932. Today she plays a 3-rank TheatreOrgan Morton in her San Diego home. And our nos­ talgic cover photo fittingly symbolizes the theatre-to-home transition of many of the fine theatre organs of yesteryear. (For the story of her career as organist and orchestra leader, see Bombarde the Summer 1966 issue of THEATRE ORGAN BOMBARDE. Volume l 0, No. 5 A . T. 0. E. National Membership is $7 .00 per year, which include s a subscription to THEATRE ORGAN B0MBARDE, the official publication of the American Th eatr e Organ Enthu siasts. Single copies : $ 1.25. Make check or money order payable to A . T . 0. E., WHAT DO YOU WANT FROM THE NATIONAL? and mail to P. 0 . Box 23 29 , Livoni a, Mich . 48150 . ALL MATERIAL FOR PUBLICATION First, what is the "National"? It consists of all of you-chapter members EXCEPT ADVERTISING and individuals-including all the chapter chairmen, the elected Board SHOULD BE SENT TO A.
    [Show full text]
  • Journal of the American Theatre Organ Society
    ATOS SepOct 51-5 K 8/17/09 3:44 PM Page 1 JOURNAL OF THE AMERICAN THEATRE ORGAN SOCIETY SEPTEMBER | OCTOBER 2009 ATOS SepOct 51-5 K 8/17/09 3:44 PM Page 2 IntroducingInntroducing thethe 7KHDWUH3LSH2UJDQµ'XHW¶7KHDWUH3LSH22UJDQµ''XHW¶ AtAt last . there’stherre’’ss a complete,complete, ready-to-play,readyy-to-playy,, MIDI Theatre PipePipe OrganOrgan unit which can tratransformansform yyourour instrument into a 24 rank three manual ttheatre oorgan.rgan. ‘Duet’‘Duet’ also providprovidesdes an efeffectivefffective way too add 24 ranks of ‘ensemble’ too existingexisting virtual andd commercial TOs,TTOOs, Keyboards andand MIDI ppreparedrepared PiPipepe OrOrgans!gans! 6SHFL¿FDWLRQV6SHFL¿FDWLRQV E 24 ranksranks,, 32’32’ throughthrough 1’1’ . plusplus an alternatealternate second VoxVox HHumanaumana ranrankk anandd an aalternatelternate thithirdrd TibiaTibiia rankrank One registersreegisters and saves the organ’sorgan’s 2082 voices, couplerscouplers and E 1111 TunedTuned PercussionPercusssion voicesvoices (Chryso.,(Chryso., Xylophone,Xylopphone, VibesVibes etc)etc) trems to pistons through unique divisional/selectdivisiional/select system.system. E 1111 TrapsTraps (Kick(Kick Drum,Drrum, RepeatingRepeating Snare,Snare, CymbalsCymmbals etc)etc) E 8 ToysTTooys (Bells, Whistles,Whistles, Birds,Birds, AoogaAooga etc.etc. onon rightright pistons)pistons) MIDI Con, E 10 memory bbanksankss ooff 10 generagenerall regregisterableisterablee memory pistonspistons :YBOARD Des1gnuf & b111lr111 U with LED indicators.indicators. (Comes(Comes programmedprogrammed
    [Show full text]
  • MAJESTIC THEATRE Other Name/Site Number
    NATIONAL HISTORIC LANDMARK NOMINATION NFS Form 10-900USDI/NPS NRHP Registration Form (Rev. 8-86) OMB No. 1024-0018 MAJESTIC THEATRE Page 1 United States Department of the Interior, National Park Service National Register of Historic Places Registration Form 1. NAME OF PROPERTY Historic Name: MAJESTIC THEATRE Other Name/Site Number: 2. LOCATION Street & Number: 230 East Houston Street Not for publication: City/Town: San Antonio Vicinity: State: TX County: Bexar Code: Zip Code: 78205 3. CLASSIFICATION Ownership of Property Category of Property Private:__ Building(s): X Public-local: X District:__ Public-State:__ Site:__ Public-Federal: Structure:__ Obj ect:__ Number of Resources within Property Contributing Noncontributing 1 ____ buildings ____ sites ____ structures ____ objects ____ Total Number of Contributing Resources Previously Listed in the National Register: 1 Name of related multiple property listing: NFS Form 10-900USDI/NPS NRHP Registration Form (Rev. 8-86) OMB No. 1024-0018 MAJESTIC THEATRE Page 2 United States Department of the Interior, National Park Service National Register of Historic Places Registration Form 4. STATE/FEDERAL AGENCY CERTIFICATION As the designated authority under the National Historic Preservation Act of 1986, as amended, I hereby certify that this ___ nomination ___ request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property ___ meets ___ does not meet the National Register Criteria. Signature of Certifying Official Date State or Federal Agency and Bureau In my opinion, the property ___ meets ___ does not meet the National Register criteria.
    [Show full text]
  • Variety Timeline: 1900-1999
    AUSTRALIAN VARIETY AND POPULAR CULTURE ENTERTAINMENT: TIMELINE 1900-1999 Symbols Theatres ˟ Works (stage, film and music) ₪ Industry issues • People, troupes and acts ۩ ₣ Film 1900 ₪ Cato and Co: Herbert Cato sets up his own theatrical agency in Sydney. Tivoli Theatre [1] (Adelaide): Harry Rickards converts the Bijou Theatre into the Tivoli. It opens on 20 June ۩ with a company that includes Pope and Sayles, Prof Fred Davys and his Giant Marionettes, Neva Carr-Glynn and Adson, Craydon and Holland.1 .Toowoomba Town Hall [3] (Queensland): Toowoomba's third Town Hall opens on 12 December ۩ ˟ Australia; Or, The City of Zero: (extravaganza) Written especially for Federation by J.C. Williamson and Bernard Espinasse, the story is a fantasy set 100 years in the future - the year 2000. It premieres at Her Majesty's Theatre, Sydney, on 26 December. Australis; Or, The City of Zero (Act 1, Scene 2) From production program. Fryer Library, University of Queensland. • Henry Burton: The veteran circus proprietor dies at the Dramatic Homes, Melbourne, on 9 March. • Harry Clay: Tours Queensland with his wife, Katherine, and daughter, Essie, for Walter Bell's Boer War and London Vaudeville Company. It is to be his last for another manager. • The Dartos: French dancers Francois and Aida Darto (aka Mr and Mrs Chabre) arrived in Australia in December for what will be an 11 month tour of Australasia, initially for George Musgrove and later for Harry Rickards and P.R. Dix (New Zealand). The couple reportedly raised the bar for partner dance acts, with Aida Darto in particular stunning audiences with her flexibility and grace.
    [Show full text]
  • Edinburgh Gardens Conservation Management Plan 2004
    EDINBURGH GARDENS BRUNSWICK STREET NORTH FITZROY CONSERVATION MANAGEMENT PLAN EDINBURGH GARDENS BRUNSWICK STREET NORTH FITZROY CONSERVATION MANAGEMENT PLAN Prepared for The City of Yarra Allom Lovell & Associates Conservation Architects 35 Little Bourke Street Melbourne 3000 In association with John Patrick Pty Ltd 324 Victoria Street Richmond 3121 Revised January 2004 TABLE OF CONTENTS TABLE OF CONTENTS i LIST OF FIGURES iv EXECUTIVE SUMMARY vii PROJECT TEAM ix 1.0 INTRODUCTION 1 1.1 Background and Brief 1 1.2 Methodology 1 1.3 Constraints and Opportunities 1 1.4 Location 2 1.5 Listings and Classification 2 1.6 Terminology 3 2.0 HISTORY 5 2.1 Introduction 5 2.2 Geomorphology 5 2.3 North Fitzroy – the development of a suburb 5 2.4 Sport as the Recreation of Gentlemen 6 2.5 The Establishment of the Reserve: 1859-1882 7 2.6 Paths, Tree Avenues and the Railway: 1883-1900 15 2.7 The Growth of Fitzroy 20 2.8 Between the Wars: 1917-1944 22 2.9 The Post-War Years: 1945-1969 27 2.10 Recent Developments: 1970-1999 31 3.0 PHYSICAL SURVEY OF HARD LANDSCAPE ELEMENTS 34 3.1 Introduction 34 3.2 Documentation 34 3.3 Levels of Significance 34 3.4 Hard Landscape Elements 35 4.0 PHYSICAL SURVEY OF SOFT LANDSCAPE ELEMENTS 77 4.1 Introduction 77 4.2 Soft Landscape Elements 77 5.0 ANALYSIS AND ASSESSMENT OF SIGNIFICANCE 107 5.1 Assessment Criteria and Methodology 107 5.2 Comparative Analysis 107 5.3 Edinburgh Gardens – Historical and Social Significance 114 5.4 Edinburgh Gardens – Aesthetic Significance 116 5.5 Statement of Significance 117 5.5 Applicable
    [Show full text]
  • The Gateway Theater Logan Square
    Newsletter – January 2017 Number XXV A Gorgeous Garden of Dreams: The Gateway Theater Logan Square This past year, the Northwest Chicago Historical Society was proud that Jefferson Park and Portage Park were chosen to showcase venues in Open House Chicago, an annual architectural festi- val organized by the Chicago Architecture Foundation. Multiple establishments on the Northwest side opened their door for the very first time to host curious guests from all over the country. The venues included the Copernicus Center, Carl Schurz High School, the Jefferson Masonic Temple, the Rivoli Theater, Our Lady of Victory, Portage Arts Lofts, and the Portage Theater. Over 100,000 people partici- pated this year, making it one of the largest events of its kind in the world. We hope that we are able to continue to bring more people into the area to visit our historical and cultural heritage. In our most recent newsletter issues, members were most excited about the movie theater pic- tures, so this issue continues on that theme. This time, we feature the Kobelinski Theater, a theater inside the Copernicus Center that has been redeveloped into a cultural venue and multi-event complex. At one time, this was called the Gateway Theater, and it was the largest movie palaces on the Northwest Side. Since the Copernicus Center purchased the Gateway, they transformed the lobby and outside mar- quee to be more reflective of its current usage. However, the community is fortunate that they saved the theater from the wrecking ball and have beautifully preserved the historic, decorative interior. While the venue now is mostly used for live performances, the center also hosts many multi-cultural and neighbor- hood events.
    [Show full text]