Henrietta Watson

The Referee was a Sydney newspaper that covered sport and had a small theatrical section. It also included lots of gossip and occasionally brief biographical notes, like the one below about Henrietta Watson. It is an invaluable source for Australian theatrical doings during the late 19th and early 20th Centuries

Miss  Henrietta Watson -Referee August 9 1899

Miss Henrietta Watson one of the most popular and finest of the many actresses who have visited us, is making her reappearance as Miladi in 'The Kings Musketeers" at Her Majesty's. it is close on six years since the talented lady completed her last engagement here, after having been with us for over two years.

In the course of a chat , Miss Watson gave an account of her doings during her absence.

"Immediately upon my arrival in London," she said, "I was engaged to play the chief part in the farcical comedy "Thoroughbred" at Terry's Theatre, after which I accepted a merry part in "Her Advocate", produced by Mr Charles Cartwright, at the Duke of York's. Next I did six months at the Lyceum Theatre as understudy to Mrs Patrick Campbell.

"At the beginning of 1896 I replaced Miss Milward at the Adelphi Theatre as Esther Coventry, the heroine of 'One of the East', with Wm Terriss, who you will remember met with such a sad fate as the hero. The followed a tour of 12 months in second parts with Miss Olga Nethersole in the United States, and on again returning to London I played long engagements in "This Happy Life' at the Duke of York's and "A Brace of Partridge" at the Strand. My final appearance before leaving for Australia was in "The Mayflower" a very fine play.

Miss Watson's engagement with "the Firm' is only for six months and will conclude in November. Local theatregoers would like to see it extended , but that, unfortunately, is hardly likely owing to engagements awaiting the lady in England.

Henrietta had a sister, Elizabeth, who was also an actor. She married Walter Thornton Radcliffe in 1900 in Sydney.

The Referee is available from the State Library of NSW on microfilm. It is worth a look if you are interested in theatrical history.

The Genesian Theatre/Kursaal Theatre

The Genesian Theatre in Kent Street Sydney is a lovely slice of the past in the middle of modern Sydney.

The building was completed in 1868 and was originally a church and school.

You can see traces of its original function by looking at the exterior of the building.

Around 1932, as the Kursaal Theatre, it became the home of the Sydney Repertory Company led by Scott Alexander. As an independent theatre it showcased a wide range of plays and writers including Shakespeare, Ibsen and local Australian talent. Alexander also held acting and speech classes in the building.

Alexander died in November 1938 but by that time The Company had moved to North Sydney.

The theatre became a refuge for homeless people, until 1954 when it was returned to use as a theatre for the Genesian Theatre Company.

According to the Genesian's own history, the company was formed by a group of Catholic youth who adopted the name of  the patron saint of actors, Saint Genesius.

I was lucky enough to attend a performance at the Genesian last night, and it is a really delightful little place that retains a lot of old world charm.

The staff were kind enough to let a mad historian take some photos...

I have no idea how much it would cost to maintain the building, but it must be a lot. So if you are interested in Sydney theatre pop along and watch a performance. I saw Charley's Aunt last night, and it was high quality and very entertaining. Here is my review.

Matheson Lang in Sydney.

I found this yesterday.


1910 was a busy year for Australian Theatre. Oscar Asche and Lily Brayton played to packed houses, Houdini thrilled audiences  with daring feats and in May Matheson Lang toured.

The signs of mourning for Edward VII were being removed from Sydney's public buildings when and and his wife, Nellie Hutin Britton arrived. Australia had been talking about them since January. The couple had big reputations gained in London and New York and Sydneysiders were eager to see them.

Lang planned to perform in Sydney and Melbourne and the first of many plays on his agenda was 'Pete' an adaptation of Hall Craine's play, 'The Manxman.'.

The preparation for the play was meticulous. Before his departure from London, Lang had relayed a request to  Australia for a baby to appear in the second act. In response, a Sydney man had volunteered his unborn child for the part.The child was born before Lang's arrival and christened 'Pete'.

Lang played the eponymous role of Pete the Manx fisherman. He had prepared for it like a modern method actor, visiting with Manx fishermen on the Isle of Wright, so he could immerse himself in the accent and culture.



Pete opened at Sydney's intimate Criterion Theatre on May 21st 1910. It was melodramatic fare, one critic wrote that  ' it's character are almost without exception steeped in pain and misery throughout its telling.'

They had every reason for their angst. The play revolved around adultery, sibling jealousy, questioned paternity, power and greed. It was material that thrilled the public but would, in most circumstances, affronted the moral guardians of Sydney society.

However, this case was different, despite the salubrious plot, the conservative elements of Sydney society were silent and this was due to Matheson Lang. He had the good fortune to be related to the Archbishop of York, a fact emphasised in most interviews. This high ranking relative protected him from the usual condemnation of the nation's prudes.
Matheson had the extra advantage of being six foot tall and handsome, qualities that also prevented criticism of his performance.

Due to these facts and the skill of the actors, 'Pete' was a huge success in Sydney. It played to standing room only audiences through its run.

Sydney critics agreed with audiences and through Lang's performance was outstanding. They praised his realistic portrayal of a fisherman and applauded his restrained display of emotion.

Miss Britton was also praised for her performance in a relentlessly dour role. Her physical beauty was also noted, especially her fine figure and 'interesting' face.

Lang and Nellie performed in Sydney for 9 weeks and were feted and applauded the entire stay.  They represented the best of international theatre to audiences who were developing a keen appreciation of quality drama and spectacle.
Lang and Nellie were one of many international artists who travelled to Australia. The long trip was well paid and the audiences less critical than those in the northern hemisphere. Competition for quality international theatre was fierce in the country and theatre managers were rewarded with crowded houses and financial success when that quality was delivered. In return, audiences  and local talent obtained a taste of European theatrical tradition that otherwise would have been denied to them.