George Coppin

GEORGE SELTH COPPIN – ‘THE FATHER OF AUSTRALIAN THEATRE’

It was the toss of a coin that brought the extraordinary George Coppin and his partner, Maria Burroughs, to our shores. He built six theatres, owned hotels, became a member of the Victorian Parliament, helped form the St John Ambulance, established Old Colonists’ for retired actors and bankrolled the seaside resort of Sorrento, plus much more.

Born to a family of strolling players in England in 1819, George grew up in the uncertainty of the itinerant theatre. Young George first appeared on stage as an infant playing a violin twice as big as him. Soon this solemn faced, chubby little boy was found to have a flair for comic acting – this was to last a lifetime.

Travelling with his parents Coppin learned his profession well. The language, the customs and all the superstitions. At the age of 17 he started life on his own account, and after being employed as second violin in an orchestra he obtained an engagement as second low comedian in a provincial company.

Coppn’s intimate association with Maria Burroughs, an actress nine years his senior, was forged on a stage in Ireland. In1842 they decided to leave England. The coin was tossed – America or Australia.

Arriving in Sydney in 1843, Coppin secured a season at the Royal Victoria Theatre within a fortnight. He stated “I am the first actor of any standing as a star, in the old country, to appear upon starring terms in the colonies.”

He quickly connected with his colonial audiences, very sociable and at ease among ordinary folk. His many characters were, for the most part, common men. His voice had great projection while his gift for mimicry knew no bounds. It was under these disguises, Coppin was able to make topical allusions on stage that would have been considered litigious if said in the public domain

Being a portly chap, standing just five foot six (165cms) and a barrel-chest, Coppin gave the impression of a larger man, especially when he threw punches, turned somersaults and slapped his stomach like a bass drum.

It was in Launceston that Coppin first organised his own theatrical company including George Young, the leading Australian comedian.

In 1846 he went to Adelaide where he converted the billiard room of the Temple Tavern, Gilles Arcade, into the New Queen’s Theatre capable of holding 700 people. The theatre is still used today as a performance space. During his time in Adelaide, Coppin was a theatre owner, a racehorse owner, breeder and hotelier. As a young hospitable hotelier, Coppin was often seen serving his patrons at the bar, dressed in costume, during the interval of his own performances.

Personal tragedy struck Coppin in 1848 when Maria died after a brief illness. She was 38 years old.

With the unforeseen exodus to the Victorian goldfields and the collapse of his copper speculations, Coppin was unable to meet his financial commitments. Insolvent, he left for the goldfields but only lasted two days on the diggings. Using his talents as a means of certain fortune, he entertained the miners. His burlesque imitation of Lola Montaz’ famous Spider Dance was a perfect parody. Vulgarity was ignored due to the side splitting roars of laughter it evoked.  He soon returned to Adelaide and paid his creditors in full before leaving for England.

During his brief return to England, Coppin purchased a prefabricated iron theatre in Manchester and prepared to equip it with special scenery and a lavish wardrobe. In Birmingham he met the tragedian, Irish actor Gustavus Vaughan Brooke and engaged him for an Australian tour.

Back in Melbourne by 1855, the prefabricated theatre was erected on the corner of Lonsdale and Stephen Streets (now Exhibition Street). This was officially the Olympic Theatre but known as ‘The Iron Pot’ which was uncomfortably cold in winter and unbearably hot in summer. The following year he purchased the Theatre Royal in Bourke Street.

Coppin and Brooke went into partnership and jointly owned the Olympic Theatre, Theatre Royal, Cremorne Gardens Amusement Park, Astley’s Amphitheatre  and four hotels. Coppin married Brooke’s sister-in-law, Harriet Hilsden.

They spent 10,000 pounds on the renovation of the Cremorne Gardens on the Yarra River. When the site opened in October 1856 it was the premier entertainment destination. Features were, a maze, a bowling saloon, rifle gallery and a menagerie of exotic birds and animals. An open-air theatre known as the Pantheon was used for concerts and stage performances, some starring Coppin himself. Fireworks displays and a 70ft high model re-enactment of Mt Vesuvius, complete with lava oozing forth were popular attractions.

Coppin was always trying to find something different to entertain his audiences. He brought the first balloon to Australia and hordes of Melbournians witnessed its ascent.

The Argus (newspaper) 2^nd February 1858 wrote,” The roads leading to Cremorne were thronged with vehicles, and the paths with foot- passengers from 3 until 5 o’clock,……….. As the balloon arose, it cleared the Pantheon very dexterously, and sailed but a few feet over the gates.”

Astley’s Amphitheatre was originally a barn-like structure used for equestrian entertainment. It featured a central ring and a stage at one end for dramatic performances. To suit the new owners’ needs, the Amphitheatre was extensively renovated and the façade extended, re-opening as the Princess Theatre and Opera House.

Coppin entered politics in 1858, firstly to Richmond Municipal Council and then the Legislative Council of Victoria. He had retired from the stage, but it was his public duties that led to the break-up of his partnership with Brooke.

Brooke took charge of the Royal Hotel and Theatre Royal and Coppin the Olympic Theatre and Cremorne Gardens. This proved costly for Coppin as the Theatre Royal had carried the other two ventures.  He converted the Olympic Theatre into Melbourne’s first Turkish bathhouse but Cremorne Gardens continued to drain his resources.

Behind the scenes, Coppin was a dedicated family man and enjoyed coming home, in his carriage late in the day and finding supper ready for him, ‘kettle steaming on the hob’. The marriage with Harriet was short lived. Giving birth to her third child, Harriet died in 1859. Lucy Hilsden, Harriet’s 18 year old daughter took over the household. In 1861 Coppin and Lucy were married.

As a councillor Coppin could only appear as a comedian for charity and then at risk of public censure. Brooke was mismanaging the Theatre Royal and going steadily into debt. In 1860 the two men were publicly reconciled and Coppin took over the management of the theatre.

Coppin then built the Haymarket Theatre, under difficulties and assistance, which was opened in September 1862. To use his words ‘ruined again, left penniless.

Coppin resigned from politics in 1863. He returned to the stage in earnest, touring the Victorian goldfields, Sydney and New Zealand to stave off insolvency once again. Using his initiative, he was able to engage the famed Shakespearean actors, Charles Kean and his wife Ellen Tree, from New York for an Australian tour.

In 1864 Coppin accompanied the Keans, as their agent, from San Francisco to New York.  Arriving three months earlier, Coppin was determined to host a season of Shakespeare’s plays with the eminent British tragedians. But it was a battle. America was in the dying days of the Civil War and England was very unpopular. He travelled extensively throughout America with the couple although troubled with ‘his old enemy’ – gout.

“Your poor old hubby is having a great deal of knocking about,” he wrote in a letter to his wife Lucy. “Since I left you I have travelled 7,821 miles.”

Coppin and the Keans travelled America for a year. They parted with little sorrow but with much more wealth.

Back in Melbourne, the lure of the boards took Coppin back to the stage at the Haymarket Theatre. He was welcomed back with much adulation.

A source of income to stand him in good stead was his copyright agency which operated on behalf of the Dramatic Authors’ Association. He acquired the nucleus of what later amounted to the performing rights covering over eight thousand works in November 1865. The first of many lawsuits to test the validity of these rights for ‘Australasia’ was won in the Supreme Court of New South Wales in February 1866.

In April 1872 his uninsured Theatre Royal was consumed by fire – another devastating blow to his finances. It was immediately rebuilt bigger and better. The new theatre could seat 4,000 people over four tiers and opened in November the same year.

JC Williamson and his wife, Maggie Moore landed in Melbourne in 1874, and went immediately to see the Napoleon of the Australian theatre – George Coppin. They opened a season at the Theatre Royal with the play, Struck Oil. A production that would prove to be ‘true to its name’, the Australian audiences loved it and was very profitable for both Coppin and the Williamsons. What was meant to be a 12-week tour lasted 15 months.

George Coppin entered the Legislative Assembly as an independent representing East Melbourne in 1874 – a position he held until 1889. During his political career he instituted and assisted with establishing: the Victorian Humane Society; the St John’s Ambulance Service; the Homestead Bill (enabling land owners to provide for their family in old age); the Post Office Savings Bank Act; the Statute Book of Victoria and the Torrens Act; as well as a 40 men’s dwellings; a model Lodging House of 900 beds (Gordon House) with unique courtyards that maximised light and air.

Coppin was opposed to the payment of members of Parliament, and when the act passed to pay them, he gave his salary to charity.

Coppin built a family home in Lennox Street Richmond, named Pine Grove, but his holiday house was to be built in Sorrento. Always looking for a business venture, he decided to take advantage of the fishing and former lime burning village and its magnificent setting. Using his talents for organisation and promotion, and his contagious enthusiasm, a seaside resort was established with other investors.

The ‘bank crash’ of 1893 greatly drained Coppin’s finances, again. But his resilience was legendary.  This indefatigable showman kept making ‘farewell appearances until 1901.  

On April 8 1905, Coppin celebrated his 86^th birthday at his holiday house, the Anchorage, Sorrento, when he contributed a couple of songs to the festivities with all his old spirit and charm.

George Selth Coppin died on 14^th March 1906 at his beloved home in Richmond Pine Grove. He was survived by his wife, Lucy, two sons and seven daughters.

On 15^th September 2011, a plaque was unveiled in the Comedy Theatre to the memory of George Selth Coppin which now occupies the site of the old Olympic Theatre – ‘The Iron Pot’.

I feel the song, written by Jerome Kern and Dorothy Fields in 1936, Dust Yourself Off, best describes George Coppin .

Nothing’s impossible I have found
For when my chin is on the ground
I pick myself up, dust myself off, start all over again

Don’t lose your confidence if you slip
Be grateful for a pleasant trip
And pick yourself up, dust yourself off and start all over again

Work like a soul inspired till the battle of the day is won
You may be sick and tired but you’ll…