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The White Hat Melbourne NewsletterArchived Newsletter No.82 - 3 June 2004ContentsLunchtime theatre +----------------------------------------------------+ LUNCHTIME THEATRE +----------------------------------------------------+ CITY LIBRARY +----------------------------------------------------+ OLYMPIC TORCH RELAY +----------------------------------------------------+ MONDAY FORUM +----------------------------------------------------+ CIRCUS HISTORY TOUR +----------------------------------------------------+ The Alexandra TheatreIt is good to see opera returning to the Alexandra Theatre. That’s what it was built for in 1886 but the Italian opera company didn’t arrive. Of course we now call it Her Majesty’s. When I attend a show there I like to arrive a little early and stand on the far side of Exhibition Street for a while. You can then take in the original building much as it was in the 1880s and may still hear the sound of horses and carriages making their way down Little Bourke Street. Even though the initial opera season didn’t eventuate, the Alexandra soon gained a reputation for Australian productions by local writers like Fergus Hume, Marcus Clarke and Ralph Boldrewood. Standing on this side of Exhibition Street, you only have to remove the cars and the crowds arriving could be coming to see the 1890s productions involving horseback feats and theatrical effects involving a giant water tank covering much of the stage. You can also imagine the shops, small businesses and organisations (including the Anarchists Society before they decided to pack it in and become Fabians) which occupied the street level shops and quarters above. My eye is next drawn to the the woman who dominated the place for 30 years. Dame Nellie Melba’s bust is in the centre of the façade, and after J.C. Williamson took over the theatre in 1901 and renamed it His Majesty’s Theatre (not Her Majesty’s as some recent glossy but sloppy books on Melbourne history claim – the name was changed to Her Majesty’s after the coronation of QE2), she had him remodel it to improve the acoustics. She gave her final farewell performance there in 1928. Now it’s time to wander over the road into the art deco foyer. In 1929 the theatre had spontaneously combusted at the thought of Dame Nellie might giving another farewell concert so J.C. Williamson rebuilt and remodelled the theatre in the style of the time (‘style moderne’ to be precise). The foyer is a reminder of the golden age of J.C.Williamsons and the musical. The press release might state "J.C.Williamson's Theatre Company is pleased to announce the production of a new musical comedy at Her Majesty's Theatre" but the word in the street was much simpler - "The Firm are doing a new show at The Maj". The height of the musical came with My Fair Lady in the 60s, but the Maj has also been home to much opera and ballet including performers such as Pavlova, Dame Joan Sutherland and Pavarotti. The bells are ringing so it’s time to venture inside the theatre and be relieved that it has moved into the 21st century since Mike Walsh took it over in 2000 and modernised much of the infrastructure. In the 1950s the air conditioning was supplied by tons of melting ice supported ominously above the heads of the audience, but now comfort comes with less danger. And those of us who have experienced the Maj from backstage will no longer sense the same ominous inevitability in the words ‘break a leg’. Rigoletto opens this weekend at the Maj. And for those who can’t stand opera because of its silly repetitive lyrics there is a daily free exhibition in the foyer of ‘The Beatles in Melbourne’. You can examine the various photographs and ponder the many shades of meaning of “She loves you, yeah, yeah, yeah”. Details at: http://www.whitehat.com.au/Melbourne/Theatres/HerMajestys.asp +----------------------------------------------------+ HAWTHORN CRAFT MARKET +----------------------------------------------------+ READER FEEDBACK “Hi, I enjoy your site, what a great job to have! I would like to suggest you include dates of amateur musical theatre performances, they can be really good, and very reasonably priced, and often can use some extra support from the public but don't have the means to promote themselves much.
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