Family History, Heir, Darell Chart 0500 Robert James Heir, Mary Frances (Fanny) Black Cathcart, George Frederick Price Darell

1837 40 John Street, Cornwall Road, Lambeth, Surrey (baptism of Mary - birth date given and the fact that she was born in Nottingham) 1841 Buggate, Commergate?, Leeds, Yorkshire Taken from the Australian Dictionary of Biography to whom I am indebted Cathcart, Mary Fanny (1833 - 1880) alternative Names: Darrell, Mary, Heir, Mary CATHCART, MARY FANNY (1833-1880), actress, was born in England, daughter of James Cathcart, a provincial theatrical manager mainly at Liverpool and Glasgow, and his wife Fannie, née Hubbard; her brothers James and Rowley Cathcart (b.1832) became well-known performers on the London stage. She was discovered in 1853 by the tragedian, Gustavus Brooke, while acting in the stock company of the Theatre Royal, Liverpool, and after playing with him for a season at Drury Lane, London, she contracted to act as his leading juvenile actress for two years from September 1854. She arrived at Melbourne with Brooke's party in 1855, and made her début as Desdemona on 26 February at the Queen's Theatre Royal. Although overshadowed by Brooke in Melbourne and Geelong, she received at Sydney in May the kind of enthusiastic reception which was to distinguish her career. Her freshness and good looks inspired audiences at Sydney's Royal Victoria to lavish upon her gifts of jewellery. Although the Empire referred scathingly to 'Miss Cathcart's habit of metallic enunciation', most critics were impressed by her unusually clear delivery and surprised by her intelligent portrayals of Portia, and of Julia in The Hunchback by J. S. Knowles. On 14 July 1855, with the reluctant permission of Brooke, she married Robert James Heir (d.1868?) at St James's Church, Sydney; they had three children, all of whom died in infancy. Heir was a young English actor in Brooke's company and remained a performer of dubious competence. In 1858-59 he was manager of the Theatre Royal, Melbourne. Back at Melbourne in August 1855 the couple left Brooke's Olympic Theatre company for higher wages at the old Queen's, then managed by John Black. After one night of performance there, Mrs Heir was restrained by a court order from Brooke. A sensational equity case followed, where personal issues were as prominent as professional ones. Although Brooke succeeded in having his contract upheld, and though the Heirs acted with him even when it had expired, their relations with Brooke were strained. For the next decade Mrs Heir occupied 'the highest position on the Australian stage', as a leading actress of Shakespeare and high comedy. As well as remaining attractive, an advantage in her best parts Beatrice and Lady Teazle, her performances were marked by a precision and careful attention to detail which drew admiring houses in South Australia, Tasmania, New South Wales and particularly Victoria. The Melbourne press regarded her as primarily a local actress and praised the unusual respectability of her private life. She was involved in most of the outstanding theatrical events of the early 1860s in Melbourne, supporting the American comedian, Joseph Jefferson, in Our American Cousin on the opening night of George Coppin's Haymarket Theatre in September 1862. In 1863 she was the leading actress in tragedian Barry Sullivan's spectacular series of Shakespearian revivals at the Theatre Royal, Melbourne. This led to her playing in vicious opposition to the Charles Kean management at the Haymarket, where the touring company included her brother James, whom she had warned of 'the wretched inefficiency of the actors' in Australia. By 1864 Mrs Heir was losing some of her vivacity and passed such roles as Lady Teazle to younger actresses. Constant indisposition, too, may have led to her partial retirement from the stage. In March 1871, to the surprise of critics in both Melbourne and Sydney, she reappeared at Sydney's Prince of Wales Opera House, married to her second husband, George Frederick Price Darrell, and playing Camille to his Armand Duval. The flamboyant Darrell became a writer of Australian melodramas and his wife, having been the first actress to star in East Lynne and similar 'sensation plays' in Australia, was well equipped to occupy the more mature female parts. Audiences and critics alike were delighted at the reappearance of the actress who could remind them of Brooke and the 'golden days' of the Australian stage. At Melbourne in July the Argus was not so impressed and attributed her fair success to the many personal friends she had there. Certainly her versatility had left her and earlier praises for her clear enunciation had turned into complaints that 'Mrs. Darrell has, unhappily, a disposition to declaim at all times'. In this season, strangely miscast as the youthful Ophelia, her singing voice failed completely in the mad scene and critics hinted that she was growing too old for many parts. Between 1872 and 1877 with 'Darrell's Dramatic Company' she toured in New Zealand, America, Brisbane and Adelaide, performing in her now famous husband's plays. In July 1877 at the Royal Victoria, Sydney, she reappeared at the end of his Transported for Life season to act as Lady Macbeth for his benefit. Though she returned in March 1878 to play in her husband's Back from the Grave, she seems to have acted infrequently from this time. Her unusual popularity and the sentimental value attached to her reappearances prevented these last performances from disturbing her reputation. After a long illness she died on 3 January 1880 at her home in Carlton, Melbourne. The Sydney Morning Herald's description of Mrs Darrell as 'the first of the great English actresses to be seen on the colonial stage' exaggerates her international importance. She reached her professional maturity in the colonies, and it is as Australia's leading mid-century legitimate actress that she must be judged. Like G. V. Brooke, her acting style dated during her career. At no time a strikingly influential actress, she nevertheless set an example of professional competence, meticulousness and versatility to her Australian colleagues. Cathcart, Mary Fanny (1833 - 1880) More information for Fanny Cathcart Cathcart Fanny (1822-80) arrived in Australia ( where she reached her professional maturity as an actor) in 1855 with G. V. Brooke. During the next decade she was the leading actress in Australia with Joseph Jefferson and Barry sullivan as well as with Brooke. In 1855 she married Robert James Heir, a juvenile lead in Brooke's company , and after his death married George Darrell in England with whom she toured extensively in Australasia and America in the 1870s. Her brother, James Faucitt Cathcart) (1828-1902) was an actor who was discovered by Charles Kean and worked with him throughout the 1850s and 1860s. He accompanied Charles and Ellen Kean on their Australian tour of 1863-1864; in Melbourne they played in opposition to Sullivan for some years in London and America. He returned to Australia in 1879, where he performed in Shakespearean and other roles for George Musgrove, George Rignold and J. C. Williamson Obituary for Fanny Cathcart The Argus (Melbourne Victoria, Australia) Thursday 22 January 1880 Very great regret has been expressed at the death of Mrs. George Darrell (better known as Mrs. Robert Heir), a lady who had been long connected with the colonial stage. She was the daughter of Mr. James Cathcart an excellent actor of the good old school, who for many years was well known in the North of England and in Ireland. After a long illness from organic disease of the liver and kidneys, she died on the 3rd Inst., at her residence, Madeline-street, Carlton. Taken from the Australian Dictionary of Biography to whom I am indebted DARRELL, GEORGE FREDERICK PRICE (1851?-1921), dramatist and theatrical manager, was born in England probably the son of G. F. P. Darrell and his wife Jane, née Cartere. In 1865 he went to the New Zealand goldfields, but soon joined Simonsen's New Zealand touring opera company. In 1869 he was in Melbourne and Sydney as leading juvenile actor to Walter Montgomery. In September 1869 Darrell left Sydney for Auckland as a member of Mrs Robert Heir's company, with a tour to California intended, but they did not leave New Zealand. On 20 January 1870 at St George's Church, Shortlands, Kent, he married Fanny Heir. He returned to Australia as her stage manager. She was 36 at the time, and some years past her best. There were no children of this otherwise successful union. The Darrells toured extensively through New Zealand, to Brisbane, Adelaide, and western New South Wales. In 1873-74 they visited the United States where Darrell laid the basis for his future career as a commercial playwright and leading manager. By 1877 he formed 'Darrell's Dramatic Company for the Production of Australian Plays', and presented his Transported for Life and next year Back from the Grave in spectacular productions at Melbourne and Sydney. Not all of his later plays were so acclaimed; The Forlorn Hope, playing in Melbourne when Mrs Darrell died in January 1880, was rejected by critics for its 'tendency to claptrap and … sentimentality'. The New Zealand Mail considered that he owed all of his success as an actor and author to his wife. On 12 January 1880 the Australian Natives' Association gave him a complimentary benefit in Melbourne for his services to 'Patriotic Drama', and thereafter he called himself a 'Native Australian Dramatist'. In April 1883 Darrell produced his best known piece, The Sunny South, at Melbourne, with Essie Jenyns in the starring role. He was to perform in this play himself over 1500 times. At London on 27 October 1884, he opened with it at the Grand Theatre, Islington, and received acclaim never before given to a colonial dramatist; but the season was interrupted when he was injured by a bowie knife. Success went to his head, and he adopted a notoriously arrogant and 'Dandyish' public style. A fellow playwright reported that Darrell considered The Sunny South worthy of comparison only with Hamlet. In September 1898 it was again produced in London, and made another record for an Australian playwright; in 1914 it was made into a film in Australia. He continued to turn out numerous pieces on Australian themes, and spent much of his time in England. In 1887 a lengthy illness prevented him from acting or writing, and in May he complained in the London Era that English playwrights were plagiarizing his 'original dramas'. In fact Darrell's highly episodic plays were themselves derivative of contemporary European dramas, and relied for their novelty on spectacular scenic tableaux and such exotic colonial stereotypes as 'The Wool King'. Australian critics remained lukewarm to Darrell's works, but popular support allowed him to continue producing them and other sensational dramas. On 23 August 1887 a complimentary benefit at Melbourne, organized by his confrères, realized more than £400. George Coppin presented him with an illuminated address for his services to the native drama. Darrell remained a prominent manager until the turn of the century, when he faded into relative obscurity as a writer of short stories. In 1916 he published The Belle of the Bush (Sydney) and made a final stage appearance reading militaristic poems for the Shakespeare Anzac Day performance at Sydney's Adelphi Theatre. On 6 May 1886 in New Zealand he had married Christine (Cissie) Peachey, a young actress in one of his companies. Their son Rupert became a prominent pantomime actor in Australia and the United States. Ill health, financial difficulties, and the departure of Rupert for the United States seemed to have made Darrell increasingly despondent. On 27 January 1921 he disappeared from his lodgings in Darlinghurst, Sydney, leaving a suicide note to the effect that he was 'going on a long voyage'. Next day his body was washed up on Dee Why beach. His funeral on 31 January was organized and paid for by J. C. Williamson Ltd; he was buried in the Anglican section of Rookwood cemetery. No information about these children other than the mention in the biography above No information about these children other than the mention in the biography above No information about these children other than the mention in the biography above Gustavus BROOKE (although nothing to do with our family, I have added a bit about him as he was lost at sea on his way from England to Australia) Brooke was born in Dublin, Ireland, the eldest son of Gustavus Brooke (died 1827), a graduate of Trinity College, Dublin, and his wife Frances, daughter of Matthew Bathurst. He was educated at a school at Edgeworthstown under Lovell Edgeworth, a brother of the novelist Maria Edgeworth, and afterwards at Dublin at a school run by the Rev. William Jones. There he showed talent in a school play; when he was allowed to see William Charles Macready perform in Dublin in March 1832 he was determined to go on the stage. He interviewed Calcraft, the manager of the Dublin Theatre, and early in 1833 on account of the failure of Edmund Kean to fulfil his engagement at Dublin, Brooke was given an opportunity to appear in the part of William Tell. He was billed as "a young gentleman under 14 years of age" (he was really almost 15) and played with some success. Other appearances followed as Virginius and Young Norval. He appeared at the Royal Victoria Theatre, London, in October 1834 as Virginius with little success. *Acting career develops* Brooke toured the English provincial theatres for three years, and then played a season at Dublin in October 1837. He had a qualified success, which was followed by a more successful season at Belfast in January 1838. He continued to play in the provinces and in Ireland, and in 1841 accepted an engagement with Macready's company in London, but finding himself cast for a small part declined the role. He returned to the provinces and refused several offers of parts in London. He had successful seasons at Manchester, Liverpool and other large towns, among his characters being Richard III, Romeo, Macbeth, Virginius, Hamlet, Othello, Iago and Brutus. He played Othello to Macready's Iago at Manchester. Later on he was with Edwin Forrest, and in October 1846 took the part of Romeo at Dublin to the Juliet of Helen Faucit. Other parts played with her included Claude Melnotte, Orlando, Hamlet, Macbeth, Richard III, Sir Giles Overreach, Leontes and Faulconbridge. On 3 January 1848 Brooke had a triumphant success as Othello at the Olympic Theatre, London. In the same season his rendering of Sir Giles Overreach was pronounced by one critic as not falling far short of Edmund Kean's, and more than one writer called him the greatest tragedian of the day. Brooke, however, did not have the temperament to make the best use of his success. He was not a good businessman and was drank too much. After playing for some time in the country his magnificent voice began to fail, and in 1850 he was obtaining advice from a London specialist who would not allow him to appear more than once or twice a week. However, in November of that year he was playing with Helena Faucit again and drawing large crowds. In October 1851 he was married to Marianne Bray. In December 1851 he went to America, and during the next 18 months had much success. On his return to England, Brooke played several of his old parts at Drury Lane, and for the first time, Macbeth, with such success that he not only re-established his own reputation but saved the fortunes of the theatre. In 1854 he met George Coppin and agreed to go to Australia to give two hundred performances in the major towns there and in New Zealand. He left England on 25 November 1854, played a week at Cape Town Garrison Theatre and arrived at Melbourne on 23 February 1855. The Australian tour opened three days later at the Queen's Theatre, Melbourne, Brooke stayed in Australia for more than six years. When he arrived he had a repertoire of some 40 characters. and before he left he had almost doubled the number. His voice had regained its beauty, his art had matured. He did some of his best work while in Australia. The critics were unanimous in placing him as one of the great actors of all time, although occasional failures were admitted, Romeo being one of his less successful characters. He excelled particularly in tragedy, but also played comedy and Irish parts with success. Brooke's last Melbourne appearance was on 28 May 1861. *Financial difficulties* In early life Brooke was financially careless, but in Australia for a time lived comparatively carefully, and while in partnership with Coppin at one time thought himself to be a rich man. But his ventures were not always successful. He eventually lost everything, and unfortunately began drinking again. On his return to England about the middle of 1861 he played a season at Drury Lane, beginning in October with so little success that at its conclusion he found himself in financial difficulties. In February he married Avonia Stanhope Jones (12 July, 1839-4 October 1867), a young actress of considerable ability whom he had met in Australia. Unfortunately his drinking habits continued and he was often in great difficulties. His wife, who had been away playing an engagement in America, contacted George Coppin, then on a visit to England, who offered Brooke an engagement for two years in Australia. Brooke pulled himself together to play a farewell season at Belfast, and his last performance as Richard III on 23 December 1865 was enthusiastically received. He left Plymouth for Australia on 1 January 1866 in the S.S. London which went down in a storm ten days later. Brooke toiled bravely at the pumps of the sinking vessel, and when all hope was gone was seen standing composedly by the companion way. As the last overcrowded lifeboat pulled away he called "Give my last farewell to the people of Melbourne". His wife, who keenly felt his loss, died of consumption in the following October. [edit] Summary Brooke was 5' 10" (178 cm) in height, of good figure, and handsome. He had a beautiful voice and much fire and passion, but depending too much upon the emotion of the moment his performances tended to vary from night to night, and he did not always do himself justice. This poem was written about the last voyage of Gustavus BROOKE on the S.S. London in which he is mentioned The Wreck Of The Steamer "London" While on her way to Australia 'Twas in the year of 1866, and on a very beautiful day, That eighty-two passengers, with spirits light and gay, Left Gravesend harbour, and sailed gaily away On board the steamship "London," Bound for the city of Melbourne, Which unfortunately was her last run, Because she was wrecked on the stormy main, Which has caused many a heart to throb with pain, Because they will ne'er look upon their lost ones again. 'Twas on the 11th of January they anchored at the Nore; The weather was charming -- the like was seldom seen before, Especially the next morning as they came in sight Of the charming and beautiful Isle of Wight, But the wind it blew a terrific gale towards night, Which caused the passengers' hearts to shake with fright, And caused many of them to sigh and mourn, And whisper to themselves, We will ne'er see Melbourne. Amongst the passengers was Gustavus V. Brooke, Who was to be seen walking on the poop, Also clergymen, and bankers, and magistrates also, All chatting merrily together in the cabin below; And also wealthy families returning to their dear native land, And accomplished young ladies, most lovely and grand, All in the beauty and bloom of their pride, And some with their husbands sitting close by their side. 'Twas all on a sudden the storm did arise, Which took the captain and passengers all by surprise, Because they had just sat down to their tea, When the ship began to roll with the heaving of the sea, And shipped a deal of water, which came down on their heads, Which wet their clothes and also their beds; And caused a fearful scene of consternation, And amongst the ladies great tribulation, And made them cry out, Lord, save us from being drowned, And for a few minutes the silence was profound. Then the passengers began to run to and fro, With buckets to bale out the water between decks below, And Gustavus Brooke quickly leapt from his bed In his Garibaldi jacket and drawers, without fear or dread, And rushed to the pump, and wrought with might and main; But alas! all their struggling was in vain, For the water fast did on them gain; But he enacted a tragic part until the last, And sank exhausted when all succour was past; While the big billows did lash her o'er, And the Storm-fiend did laugh and roar. Oh, Heaven! it must have really been A most harrowing and pitiful scene To hear mothers and their children loudly screaming, And to see the tears adown their pale faces streaming, And to see a clergyman engaged in prayer, Imploring God their lives to spare, Whilst the cries of the women and children did rend the air. Then the captain cried, Lower down the small boats, And see if either of them sinks or floats; Then the small boats were launched on the stormy wave, And each one tried hard his life to save From a merciless watery grave. A beautiful young lady did madly cry and rave, "Five hundred sovereigns, my life to save!" But she was by the sailors plainly told For to keep her filthy gold, Because they were afraid to overload the boat, Therefore she might either sink or float, Then she cast her eyes to Heaven, and cried, Lord, save me, Then went down with the ship to the bottom of the sea, Along with Gustavus Brooke, who was wont to fill our hearts with glee While performing Shakespearian tragedy. And out of eighty-two passengers only twenty were saved, And that twenty survivors most heroically behaved. For three stormy days and stormy nights they were tossed to and fro On the raging billows, with their hearts full of woe, Alas! poor souls, not knowing where to go, Until at last they all agreed to steer for the south, And they chanced to meet an Italian barque bound for Falmouth, And they were all rescued from a watery grave, And they thanked God and Captain Cavassa, who did their lives save. Historical Note Gustavus Brooke, one of the heroes of this tale, was born in Ireland in 1818 and made his first stage appearance in Dublin in 1833. He toured Britain, the US and Australia playing the great tragic roles of Romeo, Hamlet, Othello and Macbeth. It was while returning to Australia, where he had had great success in his previous tour a decade earlier, that he met his death. A biography published in 1892 tells the tale thus: The London, in which Brooke had quietly arranged to voyage to the Antipodes, was an iron screw ship of some 1,429 tons register... deeming it impossible to turn the ship round... Captain Martin gave orders... to set the engines at full speed. It was blowing a complete gale at the time, and no sooner had the instructions been obeyed than a heavy cross sea struck the vessel, washing away the starboard lifeboat and staving in the starboard cutter... All afternoon the doomed ship laboured greatly, and kept taking in green seas over the port side... Giving no thought to himself, [Gustavus] rushed on deck to do what he could for the others... It now became the captain’s sad duty to inform the ladies that nothing short of a miracle could snatch them from destruction. [Asked if he would join crew and passengers in the last lifeboat] "No! No!" replied Brooke. "Good-bye. Should you survive, give my last farewell to the people of Melbourne

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This is a Chart for Robert James Heir, Mary Frances (Fanny) Black Cathcart, George Frederick Price Darrell