Illustrated London News
Australia was going through the worst industrial unrest in its history, with agitation for a national general strike. In September 1890, a group of comrades decided to rock up to the Opera House, and give some serious stick to an actor who had fraternised with the enemy. Trouble was, they weren’t sure which actor had worked with the fiendish capitalists, and they gave a perfectly innocent Englishman the shock of his life when they picked on him.
Scene in the Opera House.
An extraordinary scene was witnessed in the Opera House last Tuesday evening during the performance of the drama “Lost in London,” which was staged for the first time by Mr. Brian Darley’s Dramatic Company. It was more sensational than the most stirring parts of the piece and was as unexpected as it was unprecedented and cruel.
Immediately on Mr. Brian Darley appearing on the stage in the first act, the pit, which was pretty well packed, began to hiss and groan. The gallery joined in the demonstration, while a section of the audience applauded. The actor turned almost dumbfounded to the audience, but the uproar was so great for a few momenta that he could not make a word heard. Cries of “blackleg;” “No, no; you have made a mistake;” “He’s not the man;” “Order;” “Chuck him out;” mingled with groans and applause.
It now seemed apparent that the demonstration had been organised for the benefit of another member of the company, who by some act or other in connection with the strike had rendered himself obnoxious to the unionists. There was, as subsequent events proved, an organised plan on foot to render things particularly warm for this gentleman, and, in fact, to boycott him in a most emphatic and implacable manner. Amends were made to Mr. Darley for the mistake by applauding him to the very echo throughout the performance.
The play proceeded smoothly for a little while until Mr. F. W. Montague, who was cast for the part of Gilbert Featherstone, the villain of the piece, appeared on the stage. He was met with a storm of offensive epithets and groans. The act was fortunately near its close and the curtain was drawn. It was clearly impossible to proceed with the play.
In the midst of the storm Miss Austen Eliot, who was playing as Tiddy Dragglethorpe, came before the curtain and essayed to speak. On seeing her the audience became moderately quiet. Miss Eliot was somewhat nervous at first, but as she progressed she gained confidence and made a bold little speech. She said, ” I have a few words to say. (Cries of order.) I wish to know whether you will let the play be proceeded with or not. There is evidently somebody in the play to whom you have some objection. I want to know if all the other member of the company are to suffer on account of that one. [A Voice: “Chuck him out.”] We can’t chuck him out, because it would interfere with the play; besides, I don’t know who it is you are talking about. I want to know if you will let the play proceed. (Cries of “No,” “Proceed,” and uproar.) I want a little reason please. If anyone is taken out of the cast to-night the play can’t go on, and the innocent must suffer with the guilty. (Cheers.) I am playing for my living, not for fun. (Cheers.) I want to know what you really require. (Muffled cries of “Chuck him out.”) Will you, or will you not, consider people who are earning their living, who, I certainly should say, are not those who are causing this disturbance. (Cheers.) I myself am here trying to earn my living, as some others are doing, but because some one here has offended you, are we all to suffer for the sake of that one person. (Cheers, and a voice, “Promise to dismiss him to-morrow.”) We will dismiss him to-morrow. (Cheers.) Whoever you are alluding to we will dismiss him tomorrow. (Loud cheers.)
The lady then withdrew, and the play was allowed to proceed with only occasional interruption. Some demonstration was made every time Mr. Montague appeared, but this was hissed down by the major portion of the audience. Mr. Montague went through the painful ordeal without displaying any temper. Mr. Montague, it may be added, is a gentleman well known in musical circles, and is generally respected by all who know him. It is stated that his offence lies in his having made a couple of trips in the Burwah in charge of the providoring, which he says was done to oblige Messrs. Howard Smith and Sons, to whom he felt indebted for little services rendered him whilst engaged at the Queensport Aquarium some time ago.
Queenslander (Brisbane, Qld.: 1866 – 1939), Saturday 20 September 1890, page 543
Mr Brian Darley was an actor-manager who was born in England in 1858, and whose career (once he recovered from Brisbane) included some silent films in America. The play he chose for his tour of the Colonies was only twenty years old, but was probably a hoary old bore even on its premiere performance. After all, it did feature the following characters – Tiddy Dragglethorpe, Job Armroyd, Jack Longbones and Benjamin Blinker. Here’s the review:
As an original drama, Mr. Watts Phillips’s new play, entitled as above, deserves some distinction. Whatever its faults, it is not derived from foreign sources and is intended to illustrate modern manners. The last scene, of which we present an illustration, is designed to read a social lesson and to bring into contrast the man of worth and the man of wealth. The latter, to use the words of the play, is only too ready “to poach on the poor man’s manor,” and is yet surprised if he be threatened with the poacher’s punishment. The poor miner, who has recovered his repentant wife, stands front to front with the mine owner and demands the redress of a fair duel with his wronger. But the latter pleads his respectability and finally declines to meet the humble man on fair terms. The injustice of this doctrine he is at last made to see and then acknowledges his fault. Such is the scene presented, which, in the acting is effective, and brings down the curtain with applause on what the writer of the play designed to represent as a moral triumph.
From the Illustrated London News, April 6 1867
Shudder.
Moreton Bay and More 