Page 16 - CinemaRecord #81

The proscenium was well proportioned inside a
textured gold frame. Set above it was Aurora,
goddess of light, her body projecting almost
horizontally over the orchestra pit. Her children,
Joy and Happiness sat beside her, gold cupids in
silver shells.
Between the proscenium and the adjoining
two levels of boxes were carved, twisted
pillars rising to support perched white cupids
with outstretched wings. Stylised crowns
completed the scene, moulded into each side
of the proscenium. For as long as they loomed
precipitously over the audience (and it was for
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proof of the decorative excess acceptable to
dŚĞ ĐŽŵƉůĞƚĞĚ ƚŚĞĂƚƌĞ ŝŶ ϭϵϬϴ͘ Edwardian theatre-goers.
The frontage was on three levels. A full-width The stage was the largest in the city, measuring
cast-iron veranda featured a central arch which 63 by 80 feet, (19 m by 24 m). Anything larger
framed the entrance doors. The street view was had to await the opening of the Melbourne Arts
typical of theatres of the time, with the veranda Centre. Everything backstage was generous;
supported by pillars. extensive dressing rooms, prop rooms,
wardrobe, paint shop and scenery bays.
The name and entrance was designed to honour
King Edward V11. Above the main door was a Opening night on Saturday 11 July 1908 was
th
hand-coloured painting depicting His Majesty. described by The Argus as a brilliant moment.
The theatre’s name was displayed above the The Premier of Victoria Sir Thomas Bent
adjoining doors. RI¿FLDWHG The house was ablaze with electric
light which reached every corner of the packed
The best feature of the foyer was the broad auditorium....
marble staircase set on a black-and- white …In the front row of the dress circle and in
PDUEOH WLOHG ÀRRU $IWHU VWHSV WKH VWDLUFDVH the boxes were to be seen such a gathering of
divided left and right to give access to a cabinet Ministers, members of parliament and
spacious dress-circle foyer, richly wall-papered KLJK RI¿FLDOV WKDW IRU D PRPHQW LW PLJKW KDYH
in blue and gold, with salmon pink and cream been imagined that the Premier was about to
highlights. address the Legislative Assembly.

This predominantly blue colour scheme was Architect Pitt was also a member of the
carried into the auditorium in paler shades, Legislative Council, a fact which probably
except for the bold royal blue of the Act Drop explained the extent of political support for his
with its contrasting gold trim. venture. Any excess of formality in proceedings
was relieved when the Premier was heckled by
a boisterous group in the gods. Bent was in
his element. Striding forward, arms folded he
sternly surveyed the Gallery. He felt assured...
that the plays to be produced on that stage would
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everybody- even those up there...
The play was Man to Man. The story included
a comic turn by Bert Bailey, much enjoyed by
the Argus reviewer. Bailey would later make
his fortune as Dad Rudd in On Our Selection,
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16 2014 CINEMAREC ORD