The son of a prominent Bath (England) brewer, George Darrell first arrived in Australia around 1865 after having run away from home whilst in his teens. After a brief period of time in Melbourne he spent the next few years fossicking for gold in New Zealand before returning to Australia. It was during this time that he learned the art of engraving and performed in local amateur theatrical productions. Darrell's first theatrical success came through Mde. Fanny Simonsen who engaged him to sing secondary roles in grand opera. One such part was Prince Paul in The Grand Duchess. In 1869 he took on the juvenile lead opposite Walter Montgomery during the famous actor's Melbourne season. Around this time Darrell married Fanny Cathcart, the widow of actor Robert Heir, who had come to Australia in 1863 with Charles Kean. The union was to prove a successful one, both personally and professionally, and Darrell soon rose to prominence as a lead actor in his own right, and as a principal cast member for several overseas companies touring the country.
George Darrell's career as a dramatist began around the late 1860s/early 1870s. One of his earliest works was an adaptation of the drama Man and Wife (1871). In 1872 he became lessee and director of the old Victoria Theatre, and engaged a company of actors, among them George P. Carey and Maggie Oliver. He also toured throughout Australia presenting combinations of plays and musical entertainments, several of which were his own creations. Among these early works are the musical sketch The Darrell's at Home and a play with music Matrimonial Manoeuvres. Between 1872 and his retirement some thirty-five years later, George Darrell wrote and produced no less than 23 original plays and ten dramatisations of already existing stories. Interestingly, his early works (at least up to 1876) seldom attempted to tackle Australian subjects. Thus it was not until Transported for Life (1876), first staged in New Zealand some two years after Darrell had returned to the Antipodes from an American tour, that local characters and situations become pivotal to his narratives. His first season in Australia in 1877 (which followed the tour of New Zealand) also saw him present a revival of an earlier work, The Trump Card (1874). Darrell simply changed the narrative from America to Sydney (for the Sydney season) and to Melbourne (when he played there in 1880).
In 1878 Darrell produced Back from the Grave, a melodrama which had its plot based on spiritualism and was set almost entirely in England. This was followed in 1879 by the war melodrama The Forlorn Hope; Or, A Tale of Tomorrow. Margaret Williams suggests that this last work finally saw Darrell come into his own as an Australian playwright (Australia on the Popular Stage, p120). The Naked Truth, an emotional drama staged in 1883 with a small amount of musical performance, was followed that same year with his most acclaimed work The Sunny South. Regarded as one of the most important Australian plays of the late nineteenth century, it had long seasons in Melbourne and Sydney before touring throughout most of Australia. It was also produced in London in 1884 and later in America. Darrell is said to have played the role of Mat Morley at least 940 times. Among his more successful dramas were: The Squatter, which included the George Darrell/David Cope composition "The Passion Song Waltz" (1885); The Soggarth, a play with incidental music composed by Walter J. Rice (1886); another play The New Rush (1886); a dramatisation of Nat Gould's novel The Double Event (1893); and one of his final productions The Land of Gold (1907).
George Darrell's last appearance in public was in 1916 when, at age seventy-five, he 'declaimed with surprising spirit his own well-turned lyrics "Around the Dardanelles," and Tennyson's "The Charge of the Light Brigade,"' at the George Marlow-run Shakespeare Tercentenary Festival (Green Room Feb. 1921, 12). His last few years were spent at Roslyn Gardens (Sydney). On Thursday 27 January 1921 Darrell left a note in his room telling his friends he was going on a long voyage. The following day his body was washed up on Dee Why Beach on Sydney's north shore.
Adapted for the stage by George Darrell from Marie Corelli's novel of the same name (1895), the story concerns Geoffrey Tempest, a penniless author who one day receives three letters. The first is from a friend in Australia who has made his fortune and offers to introduce him to a good friend who might be able to lift him from poverty. The second is a note from a solicitor detailing that he has inherited a fortune from a deceased relative, the third is a letter of introduction from a foreign aristocrat called Lucio, who befriends him and proceeds to be his guide in how to best use his new found wealth. Unaware that Lucio is the Earthly incarnation of the devil his life descends into misery depsite his new-found wealth. He eventually realises that he has been tricked by the devil and in renouncing evil he returns to society penniless but content with the chance to purify his soul.
The story concerns a beautiful young woman who suffers so that her loved but unworthy father may be saved from a just retribution.
The story concerns a banker, Caradoc, and his wife Alice, who both live and gamble extravagantly. Complications arise when Alice's first husband, Marsden, who was long ago presumed dead, turns up and cheats Caradoc (he is unrecognised by Alice). As a result Caradoc is forced to close down his bank he is imprisoned for four years. During this time his sister, Kate, marries a new chum named Wyndham. Upon his release Caradoc meets up with Marsden and is informed that Alice is actually still married to him. In a fit of rage Caradoc throws him out a window and is subsequently sent back to gaol. With Caradoc out of the way Marsden forces Alice to accompany him to the gold diggings, where they meet up with two low-life characters named Sogg (unemployed) and Stoyles (a bookie). Caradoc later arrives at the diggings and comes into possession of a giant nugget, which Marsden resolves to steal. Caradoc meets with Alice to tell her she is now once again rich, but after they part Marsden attacks her, striking her so violently on head that she appears to be dead. Although Wyndham and Stoyles accuse Marsden of the crime, Marsden and Sogg succeed in getting Caradoc charged with murder. However, when Alice recovers she is able to tell the true story. Angered by the deception and villainy the miners lynch Marsden and Sogg.
Stage version of Fergus Hume's novel of the same name.
'Tale of a man's life recalled in later years - and principally of his friend Harcourt Darrell, the scion of an old Roman Catholic family in England. The narrator and Darrell were school friends and spent several months in Devonshire studying with a Protestant clergyman before they were to enter the army. While there, Darell fell in love with the gentle clergyman's daughter but his strict Roman Catholic mother opposed the match unrelentingly. The effect of her refusal on the lives of all the protagonists, especially Darrell in his rapid decline into a true "Wild Darell" comprises the major thread of the tale whose main events take place around 1850. The narrator, George Wainwright's efforts to restore his father's lost fortunes through entering military school in France and his grand passion for a married Frenchwoman bring adventures to him too. Walstab also takes the chance to involve Wainwright in French politics and [the life of] Louis Napoleon (1848-1851). Wainwright eventually emigrates to Australia and joins the Victorian mounted police. Among the other duties, [he guards] a quarantined ship.' (PB)
'THE CROP, set in the early '80s, is about a larrikin nightclub owner, Ronnie (Blade) Gillette, and his barmaid girlfriend Geraldine. Two months after random breath testing has been introduced Blade realises he's going broke. Afraid of DUI, his customers are not buying his grog – instead they're going out to the car park to smoke dope. Like any good businessman Blade decides he needs a strategy. He decides to grow some dope himself as a way out of his financial hole. Diversify and expand – beauty! But that's when life gets interesting.'
Source: Screen Australia. (Sighted: 11/4/2014)