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THE COMEDY THEATRE,

MELBOURNE by Fred Page

n 1913, J C Williamsons purchased the
Itheatrically historic site at the corner of
Exhibition and Lonsdale Streets, Melbourne.
This land was where George Coppin erected
his Olympic Theatre in 1855. The
prefabricated iron building was manufactured
in England and became known as the locally
as “the iron pot”. In the mid 1920s, plans were
drawn up by architect Charles N Holinshed
for a theatre/cinema of two levels to replace
the Hippodrome, which had superseded the
Olympic, and was the home of circuses and
“horse and tank” dramas. It was especially
noted for the blood and thunder melodramas
produced by “King” Cole.
The Hippodrome was a theatrical venue of
the most basic kind, having an earthen
embankment as a stage. This “stage” enclosed
a large tank for water performances. This
section of the theatre was roofed, as was the
horseshoe shaped gallery, but the stalls and pit
were open to the elements. The new theatre, upper levels contain five long windows that which are inset iron heating grilles. The foyer
originally to be called the Williamson, span two levels which, at the midway point, ceiling is curved and lit by a single wrought
opened instead as the Comedy on 28 April feature Juliet balconies made from wrought iron lamp. Additional lighting is provided by
1928, with a performance of Our Betters, iron. The building rises a further two levels wall brackets of a similar design, all picked
starring Margaret Bannerman, a Canadian and, under the attic level frontage, protrudes out in gilt and maroon. At the auditorium end
actress. The theatre was built by Clements broad cornice finishes on the underside in a of the foyer are four large double doors
Langford Pty Ltd, with plaster finishes by Mediterranean night blue. The surrounding leading to a smaller lobby from which marble
Picton Hopkins and Son Pty Ltd. brickwork is laid in a diamond pattern. stairs lead to the dress circle foyer. Further
Architecturally, the design of the Comedy is doors lead into the stalls area. This “airlock”
described as Italianate. The Italian influence is continued into the is designed to prevent chill westerly winds
foyer, the floor of which is finished in Sicilian entering the building.
The facade is constructed of bronze coloured marble, covered over in recent years with a
tapestry bricks above the ground floor level, dark red carpet. The exterior stone work is The auditorium entrances are decorated with
which is faced with matching cast stone. The continued to form the internal foyer walls, into bronze grilles, lit by Spanish design

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