A Staged Farewell

Rising Star

Nellie Stewart was one of the most beloved Australian theatre performers of her time. Known for her beauty and talent, she starred in musicals and pantomimes, light opera and drama. She was a contemporary of another Australian ‘Nellie’ – the internationally renowned opera singer Dame Nellie Melba.

Born into a theatrical family in Sydney in 1858, Nellie Stewart began performing on stage at the age of five. She rose to prominence as a leading lady during the 1880s and remained a favourite performer throughout the following decades.

Stewart’s first major success was in the 1880 pantomime Sinbad the Sailor in Melbourne. She was noticed by a young theatrical entrepreneur, George Musgrove, who offered her the lead role in the operetta La Fille du Tambour-Major when the headline performer withdrew prior to the Adelaide and Sydney seasons.

In 1882, Musgrove went into partnership with James Cassius Williamson and Arthur Garner, both former actors who had moved into the business side of theatre. Together these three men formed a powerful management that became known as ‘the triumvirate’. At the time, Williamson was 38 years old, Garner was 31 and Musgrove just 28.

Nellie Stewart soon became a star of Williamson, Garner and Musgrove's Royal Comic Opera Company. This company staged popular operettas in cities across Australia and New Zealand. Their repertoire included works by W. S. Gilbert and Arthur Sullivan for which Williamson had astutely secured the Australasian performance rights.

Over a period of six years, Stewart performed principal roles in Patience, HMS Pinafore, Iolanthe, Princess Ida, The Yeomen of the Guard and The Mikado, as well as La Mascotte, Olivette and Les Cloches de Corneville.

Then in November 1886, Stewart's intention to temporarily leave the company was announced. This must have come as a blow to the management but in true show business style they made the most of the situation. Stewart gave a farewell performance in Sydney, before bidding Melbourne audiences goodbye on 4 February 1887.

Farewell Benefit

Melbourne's chosen venue for Stewart's ‘grand complimentary farewell benefit’ was the recently re-built Princess Theatre on Spring Street. Williamson, Garner and Musgrove had commissioned leading Melbourne architect William Pitt Jnr to design a lavish venue in place of an older theatre on the site. The grand new structure reflected the wealth and confidence of the city's 1880s boom period.

The Princess Theatre opened just seven weeks before Stewart's farewell. This major civic achievement is proudly depicted, surrounded by Australian flora, on the opening page of her souvenir.

The production staged for Stewart's farewell was also a considered choice. In 1885 she had gained much praise as the female lead in the first Australian production of Gilbert and Sullivan's The Mikado. This operetta proved hugely popular at the time, although it reflected a stereotyped view of Japanese culture that is today considered offensive.

When the new Princess Theatre triumphantly opened Stewart had again been featured in The Mikado. Her success made it an ideal choice for her send off and Melbourne newspaper The Argus described it as "being the latest and the most adapted to her rapidly growing talent."

A programme printed in purple on silk was produced especially for the occasion – an extravagance reserved for opening nights and commemorative events.

Australia's Darling

In March 1888, just three months after returning to Australia, Stewart again performed at the Princess Theatre. This time she took on the role of Marguerite in Faust, singing over 20 consecutive performances.

Over the next two decades, Stewart consolidated her place as a favoured Australian performer. Behind the scenes, Musgrove continued as an entrepreneur and actively showcased her talents.

Stewart entertained audiences in lavish pantomimes, popular musicals and dramatic plays. Her most famous role was Nell Gwynne in Sweet Nell of Old Drury – a play that became synonymous with her name.

She also performed in England and the United States, but remained much-loved in Australia. Stewart's celebrity extended beyond the stage. Her stylish outfits were often detailed in the press, and fans avidly collected postcards and photographs featuring her image.

Her plain gold bracelet, a gift from Musgrove, began a widespread fashion craze. Known as the ‘Nellie Stewart’ bangle, look-alike versions were produced in varying sizes and qualities, and women across Australia adopted the trend for decades. 

Over a century after Stewart's 1887 farewell evening, her bound tribute was entrusted to the Australian Performing Arts Collection by her grandson Michael Lynton. He subsequently donated many other items relating to his family including costume pieces, photographs and archival material.

At the centre of the collection remains this cherished keepsake documenting a moment in time and Nellie Stewart's significant role in Australian performing arts history.

We look forward to sharing this and other special items from the Australian Performing Arts Collection in our new research, storage and education facility opening later in 2023.