LAST MODIFIED Tuesday 18 June 2019 8:42

Anne Remens Clarke

Dr GRAEME SKINNER (University of Sydney)


To cite this:

Graeme Skinner (University of Sydney), "Anne Remens Clarke", Australharmony (an online resource toward the history of music and musicians in colonial and early Federation Australia):; accessed 3 April 2020

CLARKE, Anne Theresa


Soprano vocalist, actor, dancer, theatre manager

Born ? England, c.1806
Arrived Hobart Town, VDL (TAS), 13 August 1834 (immigrant per Strathfieldsay, from London, 1 May)
Married Michael CLARKE, Trinity Church, Hobart Town, VDL (TAS), 25 October 1834
Active until 1847 (TROVE tagged by Australharmony)

CLARKE, Michael

? Theatre musician, former military bandsman, vocalist, actor

Active 1830s-40s (TROVE tagged by Australharmony)

CLARKE, Anne Theresa (junior)

Theatrrical dancer, danceuse

Born Hobart Town, VDL (TAS), 22 September 1835
Active c.1845-47 (TROVE tagged by Australharmony)


Of the various spellings of her name, "Miss Remens", as it appears in London playbills, is preferred here for her indentifying tag, despite "Remans" being slightly more usual in Australian bills.

As the London Athenaeum noted early in 1835:

We observe by the Hobart Town Courier, that among the 286 Female Emigrants who went out in the Strathfieldsay were Miss Remans from the English Opera House, and Miss Rudelhoff from the Royalty; both were, it appears, instantly engaged by the manager of the Hobart Town Theatre.

Anne and her husband Michael Clarke returned to England in 1841 where they engaged a new company for the Hobart Theatre, including the Howson brothers, Emma Young, Theodosia Stirling, and Gerome Carandini.

Clarke retired at the end of the 1847 Melbourne season, gave her last farewell performance in Melbourne in December 1847, and, so far as has yet been ascertained, she and her husband disappear completely from the documentary record thereafter.

It is perhaps noteworthy that another former London stage vocalist, Marian Maria Chester, came out of her long Tasmanian retirement in April 1848, only shortly after the Clarkes left the scene.

According to Gyger (Civilising the colonies, 40), Michael Clarke was a former military bandsman who had previously played in Sydney theatre; however, I have as yet found no support for that claim, or any other evidence that he was musically active.


England (to 1834; ? and after 1848)

8 April to 21 September 1833, Remens in the company for the summer season at the Adelphi Theatre, London

For full register of her performances see in bibliography below Adelphi Theatre calendar 2016

"Royal Adelphi Theatre", The theatrical observer and daily bills of play (8 July 1833), 3

Royal Adelphi Theatre, ENGLISH OPERA COMPANY. This Evening, (first time) a Comic Opera, called The Convent Belle . . . The Overture, by Winter . . .
Clara of Lieberstein - Mrs. WAYLETT . . . Mona - Miss REMENS . . .

After which, the Operetta, called The Four Sisters . . . Mrs. WAYLETT,
Who will introduce "Away, away, to the Mountain's Brow," and "Kate Kearney" . . . Landlady - Miss REMENS . . .

"Royal Adelphi Theatre", The theatrical observer and daily bills of play (9 July 1833), 3

After which, the Operetta, called The Four Sisters . . . [as above]

"Royal Adelphi Theatre", The theatrical observer and daily bills of play (12 July 1833), 4

After which, the Operetta, called The Four Sisters . . . Mrs. WAYLETT,
Who will introduce "Pretty Star of the Night," and "Kate Kearney" . . . Landlady - Miss REMENS . . .

"Royal Adelphi Theatre", The theatrical observer and daily bills of play (13 July 1833), 3

. . . The Convent Belle . . . The Four Sisters . . . [as above]

"Royal Adelphi Theatre", The theatrical observer and daily bills of play (16 July 1833), 3

. . . The Convent Belle . . . The Four Sisters . . . [as above]

"Royal Adelphi Theatre", The theatrical observer and daily bills of play (18 July 1833), 3 

. . . The Convent Belle . . . [as above]

"Royal Adelphi Theatre", The theatrical observer and daily bills of play (20 July 1833), 3 

. . . The Convent Belle . . . [as above]

"Royal Adelphi Theatre", The theatrical observer and daily bills of play (23 July 1833), 3 

. . . The Four Sisters . . . [as above]

"Royal Adelphi Theatre", The theatrical observer and daily bills of play (27 July 1833), 3 

. . . The Four Sisters . . . [as above]

"Royal Adelphi Theatre", The theatrical observer and daily bills of play (21 August 1833), 3

. . . To which will be added, the Burletta of MIDAS.
IMMORTALS - . . . Apollo, Mrs. WAYLETT . . . Juno, Mrs. EMDEN; Minerva, Miss REMENS . . .

"Royal Adelphi Theatre", The theatrical observer and daily bills of play (22 August 1833), 3

. . . The Four Sisters . . . [as above]


1 May 1834, London, Anne Remens sailed on the Strathfieldsay, one of 266 female emigrants

"FEMALE EMIGRATION (FROM A CORRESPONDENT)", Morning Advertiser (3 May 1834), 3

On Thursday morning upwards of 270 unmarried female emigrants left the river in the Strathfieldsay, bound to Hobart town. The vessel is 500 tons burden, and has been fitted up with every care and attention to the comforts and convenience of the fair adventurers. The sleeping places or shelves are six feet wide, destined to hold four persons, and extend in two tiers round the whole of the middle deck, which is exclusively assigned to the use of the females. An experienced surgeon, and a superintendent and his wife form the board of controul over this petticoat community, as well to prevent a revolt of the emigrants as to contribute to their comfort and amusements.

The party went off in high spirits, waving their handkerchiefs to the spectators. In appearance far the greater majority were respectable, and all were orderly. They seemed to be impressed with the importance of the step they had taken, but hope for the future and the excitement of the moment gave them confidence in the trial of departure.

It appears that Government pays the expenses of the voyage, provides bedding, &c., and moreover gives to each a grant of 12l. on arriving at the destination, where a committee of ladies will take charge of them, and aid them in procuring employment, or otherwise using their industry and talents. The agent to the Emigration Committee, Mr. Marshall, was kind, and most attentive to them individually while he superintended the general embarkation.

Van Diemen's Land (13 August 1834 to 25 August 1837)

13 August 1834, Hobart Town, Anne Remens arrived per Strathfieldsay

Arrivals, female immigrants, Strathfieldsay, 13 August 1834; Tasmanian names index; NAME_INDEXES:402310; MB2/39/1/2 P109 

Rimon, Ann T.

"TRADE AND SHIPPING", The Hobart Town Courier (15 August 1834), 3

Arrived on Wednesday the 13th inst. the bark Strathfieldsay 478 tons, Capt. Jones, from Gravesend 1st May, with a general cargo of merchandize and 286 female emigrants.

[News], The True Colonist Van Diemen's Land Political Despatch (19 August 1834), 3 

Mr. DEANE has made a valuable addition to his corps dramatique, having engaged a Mrs. Hemans, formerly of the English Opera House, and a Miss Corrie, of the Royal Theatre, who arrived by the Strathfieldsay. These ladies make their debut on Saturday next. We have to congratulate our fellow Colonists on the improved aspect of emigration to this Colony.

"Domestic Intelligence", Colonial Times (19 August 1834), 6

On Saturday next a grand entertainment may be expected at Mr. Deane's Theatre. We believe it to be Miss Deane's benefit. The two ladies just arrived by the Strathfieldsay, will then make their first appearance before a Van Diemen's Land audience, and if report speaks correctly, we may anticipate no trifling pleasure. The price of entrance will be doubled, and two pieces will be performed, particulars of which will be duly advertised.

[Advertisement], Colonial Times (19 August 1834), 3

Theatre, Argyle Rooms. MR. DEANE begs to acquaint the Public, that, on Saturday Evening next, will be performed, two popular Plays, and a variety of Entertainments, when Miss Remens and Miss Rudelhoff (from the Theatres Roval, London), will have the honor of making their first appearance on this Stage. Tickets, (not transferable) 4s. each. Children, under 12 years of age, half-price. Aug. 19, 1834.

ASSOCIATIONS: Dinah Rudelhoff (actor, vocalist); John Philip Deane (theatre proprietor, musician)

23 and 25 August 1834, Remens's first appearances, Theatre, Argyle Rooms, Hobart Town

[Advertisement], The Tasmanian (22 August 1834), 3 

[News], The Hobart Town Courier (22 August 1834), 2

Two of the female emigrants, we observe, namely, Miss Remans, from the English opera, and Miss Rudilhoff, from the Royalty theatre, have formed engagements with Mr. Deane, and are to make their debut in the Lord of the Manor, to-morrow evening.

[News], The True Colonist Van Diemen's Land Political Despatch (26 August 1834), 2 

Miss Remans and Miss Rudelhoff made their debut on Saturday, at Deane's Theatre, the former in the character of Annette, and the latter in that of Peggy, in the "Lord of the Manor." These ladies are decidedly an acquisition to the Stage, especially Miss Remans, whose voice is of the first order, conibining force, compass, and sweetness. She accompanied herself on the guitar in one of her songs, and was repeatedly encored. Miss Rudelhoff is a pleasing little actress, and appears to be au fait at stage business - perfect in her part, and promises fair to become a favourite with the Public.

"Domestic Intelligence", Colonial Times (26 August 1834), 7

We attended Mr. Deane's theatre last evening, principally to witness the performance of the two lately-arrived actresses - the Misses Remans and Rudelhoff. The play was "The Lord of the Manor." With the whole performance, we were not satisfied - the characters were not well cast, and the effect was spoiled by several of the actors not being perfect in their parts. The scenic effect receives little or no attention at the theatre - the side scenes are seldom changed, so that for a cottage scene, we have the three first side scenes of a marble hall, and the next a forest side; and when the performers present themselves on the stage, it is not unusual for them to seat themselves bang down on the fire. Last evening, too, the finale of the "Lord in the Manor" took place in jail, instead of a commodious room in a mansion. It is these trifling things which will ever spoil the best pieces, let the acting be ever so good. At home, the performance, coupled with the scenic effect, imposes on the mind, and enchains the thought of the spectator to what is being represented; the whole may be considered, for the moment, as reality; and, indeed, would be thought so, were it not for the conviction that the spectator is merely witnessing a play, in a theatre; but so widely different are the performances at our theatre, that instead of the mind of the auditor being carried with, and enjoying the author's and the actor's talent, the public seem to care as little as possible about what is going on, and it is no uncommon thing to be asked by the spectators whether, after the first or second act of a three act piece, it is all over or not; and as often do we hear people assert the piece is finished, when perhaps one act has only just terminated. We offer these observations, with a wish to have these trifles remedied, for we repeat that all the best acting in the world would be spoiled at Drury Lane or Covent Garden, and the house would be overwhelmed with laughter, at the sight of a lady sitting quietly down on a huge fire. As to the manner in which the pieces are got up, we shall hereafter say a few words, but so imperfectly do the different actors learn their parts, that it is no uncommon thing for some of them to come to a dead stand still, and wait till such time as memory comes to their aid; for as to prompter, we think from the manner that department is carried on, there either is none, or he cannot read.

After this prelude, we come to the performance of last evening: the performance of Messrs, Russell, Campbell, and Mackay, would be creditable on any stage; but the amateur was no more adapted to his character, than we should be to be made Pope of; and as to Rashly and Rental, the persons performing these parts have no more idea of acting, than blue beetles; - automatons would do their parts as well. Why does Mr. Deane not get up pieces where a smaller number of actors are required, and let us have something really well got up? There have been many pleasing little things attempted at his place, and at the Freemason's, and which might now be repeated with success, especially as the addition to the corps dramatique, would enable him to get up the pieces as the authors intended, but which were so murdered on former representations, that no man would have known his own production. If Mr. Deane has entered into agreements with the performers of Rashly and Rental, for goodness sake let them be kept as prompters and candle-snuffers, and let us have a respectable drama, which may instruct and entertain at the same time - this is what the respectable inabitants require, and what alone will be ultimately supported, as it ought to be, by the public.

The female performers were Mrs. Mackay, and the Misses Remans and Rudelhoff. Mrs. Mackay is an old favourite with the people, and would become even more so, did not the public so frequently hear of the differences and squabbles which are carried on behind the scenes. With respect to her, last evening, Sophia was not at all adapted for her, and her song, "Oh say not," would have been better omitted altogether. Miss Remans performed Annette - it is evident that this lady has trod the boards before; she has a good deal of tact and stage attitude, which cannot be obtained but by continued appearances before the public, but although her Annette pleased us, we shall say nothing of her acting, being fully convinced that other characters would suit her much better, and we shall, therefore, criticise her performance the first time she really does perform. As a vocalist, she is perhaps unequalled in the Island; there is a masterly air in every note she brings forth, and she can, doubtlessly, execute with brilliancy, the most difficult pieces. In one song, last evening, she accompanied herself on the guitar, but the accompaniment was scarcely loud enough. Most of our readers recollect "The Dashing White Serjeant," as sung by Mrs. Davis and Mrs. Taylor, and as if it were a masterpiece by which the talent of the respective singers should be decided, it was sung last evening by Miss Remans. Mrs. Taylor's voice is unquestionably much sweeter than that of Miss Remans, whose voice is occasionally a little harsh, and a little wiry, but to make up for this defect, she has m her upper notes a fullness which is not often met with. For ballad singing, give us Mrs. Taylor. The soft plaintive voice of that lady will be long remembered, but in the ballad alone would Mrs. Taylor in any way equal Miss Remans; and it is perhaps unfair of us to say that Mrs. Taylor would even equal her, inasmuch as Miss Remans has not yet had a fair chance. We should therefore like to hear her in a common ballad, and in some difficult piece of modern production the same evening, but we should like to hear her as a singer, not as a performer-by the bye, before leaving this lady, we must not omit that her performance, as well as the song of the "Dashing White Serjeant," was excellent.

Miss Rudelhoff performed the part of "Peggy." This actress looked Peggy, and we are satisfied her name must be Peggy. As to her acting, it was capital, but she was not supported as she ought to be: she was not acted up to, and the sharpness of her witty sallies were frequently spoiled by the imperfect manner the parts were learnt. Miss Rudelhoff is a very little body, and jumps about, and is all life - she is just the actress for light comedy, and in her way is not to be equalled in the Colony.

See also the later London reports:

"Theatrical Emigrants", The Athenaeum (21 February 1835), 156 

We observe by the Hobart Town Courier, that among the 286 Female Emigrants who went out in the Strathfieldsay were Miss Remans from the English Opera House, and Miss Rudelhoff from the Royalty; both were, it appears, instantly engaged by the manager of the Hobart Town Theatre, and made their first appearance in "The Lord of the Manor," the former as Annette, and the latter as Peggy, and, we are happy to add, were received with approbation. Theatricals, indeed, seem prospering in the colony. The Launceston Independant announces, among forthcoming novelties, an entire new drama to be called, "The Bandit of the Rhine," written by E. H. Thomas, Esq.

[Review], The London quarterly review (September 1835), 221 

. . . Two actresses are engaged at the theatre at &75 - Mesdlles. "Thirza Rumens and Delizia Rumenhoff." (Surely the Hobart Town Laporte ought to import his "stars" at his own expense.) . . .

And reproduced in "More Deception", Colonial Times (15 March 1836), 5

13 October 1834, Remens's benefit, Theatre Argyle Rooms

[Advertisement], The Hobart Town Courier (10 October 1834), 3

ON Monday evening, 13the Oct. 1831, will be represented, the comedy of,
CHARACTERS: Sir Charles Racket, Mr. Spencer, from the theatre Launceston, (his first appearance on this stage) -
Druggett, Mr Capper - Woodley, Mr. Hodges - Lovelace, Mr. Hulkes - Lady Racket,
Miss Remebs - Mrs Druggett, Mrs. Henson - Nancy, Miss Watson - Dimity, Miss Rudelhoff.
In the course of the evening the following songs:
- Meet me by Moonlight - Miss Remens.
Bavarian Broom Girl (in character) - Miss Rudelhoff.
A Comic Song, by Mr. Spencer.
The Soldier tired of War's Alarms - Miss Remens.
Why did I Love - Mrs. Henson.
Miss Remens will sing the favourite Cavatina,
Fra tante angoscie e paepiti.
The whole to conolnde with
CHARACTERS: Quake, Mr Russell - Holding, Mr Capper - Charles, Mr. Hulks - Simon, Mr. Lee - Smart, Mr. Campbell - Sophia, Miss Remens - Lucretia, Mrs. Henson - Rose, Miss Rudelhoff . . .

MUSIC: Fra tante angoscie e palpiti (Carafa; introduced in Rossini's La cenerentola)

25 October 1834, marriage of Anne Remens and Michael Clarke

Marriage register, Trinity Church, Hobart; Tasmanian names index; NAME_INDEXES:821067; RGD36/1/2 no 2523

Michael Clarke, Ann Theresa Remains, 25 October 1834


22 September 1835, birth of Anne Theresa Clarke

Baptism register, Trinity Church, Hobart; Tasmanian names index; NAME_INDEXES:1083880; RGD32/1/2/ no 6213

Anne Theresa Clarke, daughter of Michael and Anne Theresa Clarke, baptised Trinity Church, Hobart, 11 October 1835, born 22 September 1835


[Advertisement], The Tasmanian (26 February 1836), 2 

In the Matter of the Insolvency of Michael Clarke, of Hobart Town, Licensed Victualler . . .


"Hobart Town Police Report. July 10, 1837)", Colonial Times (18 July 1837), 8 

Prisoner Constable William Morrow, complained in due form, under the provision of the Police Act, of Michael Clark for assaulting constable Chamberlain in the execution of his duty. It appeared that Mr. Clarke's female servant was found in a public house, in company, and drinking with a call boy of the Theatre, and as a matter of course taken in charge, when Mr. Clark interfered with the constables, and resisted one of them in the discharge of his duty. The defence set up was, the servant had gone to the public-house for some refreshment for her mistress who was at her duty at the Theatre. The person who was with her at the public-house was called on for the defence, and underwent a very severe cross-examination - he could not recollect particulars of what occurred, only that such might have been the case without his seeing that probably such might have happened. Mr. Clarke was fined £2 and costs.

25 August 1837, the Clarkes sailed for Sydney (with the Camerons)

"SHIP NEWS", Colonial Times (29 August 1837), 3 

AUGUST 25. - Sailed the Marian Watson, 144 tons; for Sydney, B. Shaw, Master, Cargo, sundries; Passengers - Mr. John Grisland, Mr. Baines, J. Clark, Mr. F. Shallis, Mrs. E. Shallis, Mr. W. Butler, Mr. M. Clarke, Mrs. Clarke, Mr. S. Cameron, Mrs. Cameron, Mrs. Ramus and servant Kemp, John Holder.

Sydney NSW (1 September 1837 - 25 November 1839)

1 September 1837, the Clarkes arrived in Sydney from Hobart Town (with the Camerons)

"SHIPPING INTELLIGENCE. ARRIVALS", The Sydney Gazette and New South Wales Advertiser (2 September 1837), 2 

From Hobart Town, same day [yesterday], whence she sailed the 25th ultimo, the schooner Marian Watson, Captain Shaw, with sundries. Passengers . . . Mr. and Mrs Clarke, Mr. and Mrs. Cameron . . .

[News], The Sydney Gazette and New South Wales Advertiser (2 September 1837), 2 

Mr. and Mrs. Cameron, accompanied by Mrs. Clarke of the Hobart Town Theatre, we understand, arrived by the Marian Watson, yesterday; their appearance will doubtless cause some stir in the theatrical world, and probably do something towards relieving the Theatre from its present unprofitable and "beggarly account of empty boxes."

13 September 1837, Anne Clarke, first appearance, Theatre Royal, Sydney

[Advertisement], The Sydney Monitor (13 September 1837), 3 

"The Drama", The Sydney Gazette and New South Wales Advertiser (17 October 1837), 2 

. . . During the course of the evening Mrs. Clarke, the Hobart Town vocalist, sang several pleasing little ballads. Mrs. Clarke's singing leaves a more pleasing impression on the mind of the auditory, than any other of the vocalists that ever appeared on the Sydney stage. We liked Mrs. Chester's ballad-singing very well; but her enunciation was much less distinct and her singing less natural and more laboured than that of Mrs. Clarke. Mrs. Taylor could once sing a pleasing song, but her voice and her modesty fled together. Mrs. Clarke as a vocalist (for her acting is very tame), and Miss Lazar as a dancer, are at present the principal attractions at the Theatre and we have little doubt will continue almost the only ones, while Simes continues to hold the office of manager and Mrs. Taylor rules the roast.

[News], The Sydney Gazette and New South Wales Advertiser (21 November 1837), 2 

Mrs. Clarke, the most talented, and decidedly the most pleasing vocalist that ever trod the Sydney stage, takes her benefit at the theatre on Thursday evening. The bill of fare Mrs. C. has provided promises a rich treat, as well to the connoiseur in music as to him who loves best the simple ballad. It is not often that the inhabitants of Sydney have it in their power to shew their r[e]spect to virtue by patronising the Sydney stage; Mrs. Clarke is a woman of irreproachable character, and we trust that the result of her benefit will shew that the inhabitants of Sydney respect and appreciate virtue wheresoever they meet with it.

23 November 1837, Clarke's benefit

{Advertisement], The Sydney Gazette and New South Wales Advertiser (23 November 1837), 1 


"THE VICTORIA THEATRE", The Sydney Gazette and New South Wales Advertiser (6 September 1838), 2

Mrs. Clarke's claims on the generosity of the Sydney public are based more upon her abilities as a songstress than as an actress. On the Sydney stage, in the former, she has no rival, nor, indeed, with the exception of Mrs. Chester, have we ever had an actress of equal musical abilities. Independent, altogether, of her claims as a musician and an actress, Mrs. Clarke has still higher claims on the consideration of her own sex; she is in public, and, we are informed, in private life a woman of the most irreproachable character, and purity of character on the stage, we are sorry to say, is so much of a rarity in these days, that we hold it to be the imperative duty of the virtuous portion of the community to encourage and reward it, whenever, as now, it is within the compass of their power.


25 November 1839, Clarke sailed for Melbourne

"DEPARTURES", The Sydney Monitor and Commercial Advertiser (27 November 1839), 3 

AUSTRALASIAN PACKET, Nicholls master for Port Phillip, General Cargo. PASSENGERS, Dr. Mitchell, Major Boyd and family, Mrs. Clarke, Captain Lewis, Messrs. McAllan, Abraham, Intry, and 23 in the steerage.

Melbourne, Port Phillip district, and Sydney, NSW (11 December 1839 to 24 February 1840)

11 December 1839, Anne Clarke arrived in Melbourne

"SHIP NEWS", Port Phillip Patriot and Melbourne Advertiser (9 December 1839), 5 supplement 

Dec. 11. - Australasian Packet, I. D. Nichols, master, from Sydney. Passengers, Dr. Mitchell; Major Boyd and family, Mr. Tushy, Mr. McAllen, Mr. Abraham, Mrs. Clarke, Captain Lewis (Harbour Master), and 22 in the steerage.

[News], Port Phillip Patriot and Melbourne Advertiser (23 December 1839), 3 supplement 

On Monday last Mrs. Clarke had a Concert at the British Hotel, the tickets were 10s. 6d. each. The pleasure that the public might have enjoyed at this soiree was completely spoiled by the noisy, drunken, blackguard language and outrageous conduct of a fellow professing to be a gentleman - report says it was the Editor of the Gazette. What were the constables about that they did not lodge him in the watch-house?

"Domestic Intelligence", Port Phillip Gazette (28 December 1839), 3 

Mrs. Clarke, in pursuance of her spirited design, delighted the fashionable world of Melbourne, on Monday evening last, with a brilliant Soiree, at the British Hotel. The songs chosen by her for the occasion required taste, feeling, and execution; every justice was rendered, and the audience were loud and continued in their applause. Mrs. Clarke's personation of the Old, Maid, attired in an antique dress of green silk, with spectacles of the same spinster-spirited hue, was admirable and elicited deserved commendation. The room itself was not well adapted to the purpose, being low and badly lighted; but, for the short notice which had been given, "mine host" of the British provided capital accommodation for the numerous and respectable audience which graced the arena of "music and of song." Mr. Jamieson accampanied Mrs. Clarke throughout the evening on a grand piano. It is to be regretted that this lady could not be induced to remain for a season in our little capital, as the support she experienced on even this first and hurried occasion, is a guarantee for a gratifying and remunerating patronage hereafter. Upon the close of the present Sydney Theatre, the inhabitants of Melbourne may expect a dramatic corps, (whose strength we have no doubt will be recruited by some talented amateurs) to assist them in dispelling the eternal monotony of the province, "happy" only in name.


8 January 1840, the Clarkes arrived Sydney

"Shipping Intelligence. ARRIVED", The Australian (9 January 1840), 2 

Jan. 8 - The barque Australasian Packet, Nichols, master, from Port Phillip the 26th ultimon. - Passengers - Mr. and Mrs. Clark, Miss Wilson, Messrs Brewer, Abrahams, and Kirby, and two in the steerage.

[News], Commercial Journal and Advertiser (8 February 1840), 2 

Mrs. Clarke, late of the Victoria, we understand shortly proceeds with her husband, to Van Diemen's Land. This we regret, and we are sure the public will, for decidedly this vocalist and actress was one of the best of the Sydney corps dramatique, and decidedly an ornament to it in point of respectability. Mr. Wyatt, we have no hesitation in saying will do himself and the public an injustice by allowing her to leave these shores through any pecuniary considerations.

21 and 24 February 1840, the Clarkes cleared out and departed for Hobart Town

"VESSELS AND PASSENGERS CLEARED OUT AT THE CUSTOMS", The Sydney Monitor and Commercial Advertiser (24 February 1840), 3 

FRIDAY. The AUSTRALASIAN PACKET, barque McPherson master, for Hobart Town. PASSENENGERS - cabin, Mr. and Mrs. Clarke, and Captain Wright.

Hobart Town, VDL (TAS) (1 March 1840 to 11 February 1841)

1 March 1840, the Clarkes arrived Hobart Town

"SHIP NEWS. ARRIVALS", The Austral-Asiatic Review, Tasmanian and Australian Advertiser (3 March 1840), 2 

March. 1. - Barque Australasian Packet, 205 tons, McPherson, master, from Sydney, Feb. 24, with a general cargo, passengers, Capt. White, Mr. and Mrs. Clark, Miss Clarke, Mr. Murray, Agent, A. Morrison.

"THEATRE, CAMPBELL-STREET", The True Colonist Van Diemen's Land Political Despatch . . . (13 March 1840), 7 

We understand that Mr. Capper and Mrs. Clarke have taken the Theatre from Mr. De Graves for the race week; and that Mrs. Clarke is to have it for three months after that. Mrs. Clarke has always been a very great and deserved favourite with the Hobart Town people, and we hope she may succeed.

[Advertisement], The Hobart Town Courier and Van Diemen's Land Gazette (13 March 1840), 1 

"AMUSEMENTS OF THE WEEK", Colonial Times (17 March 1840), 7 

Mr. Capper opened the Victoria Theatre last night, to a pretty fair audience. He has taken the house for the Race Week, and has engaged a numerous company, being determined to entertain the public, as much as he can. The house has been very neatly decorated, and, we understand, that the new Manager intends to confine the performances chiefly to Melo-dramas and Farces, - a very judicious course, in our opinion. Our old favourite, Mrs. Clarke, has returned, after an absence of nearly three years, and made her appearance, last night, in her favourite character of Lady Margaret, in the Vampire. After this week, she will join Mr. Capper, in partnership, for a limited period; and, as every pains have been taken, and no expense spared, both as to performers, and an efficient orchestra, we sincerely hope, that they will meet with the success, which they deserve. We must not forget our old Fantoccinist, Mr. Masters, who also intends to exhibit his Hoblum Goblums nightly, during the week: we perceive, he has added a Panorama to the exhibition, and we assure our country friends, they will derive considerable amusement from a visit to Mr. Masters' Fantoccini.


"THEATRE", The Courier (8 January 1841), 2 

We call the attention of our readers to Mrs. Clarke's announcement of the performances for her Benefit on Monday next. We think it but an act of justice to render this indefatigable caterer for the public amusement all the support in our power, especially on this occasion, the last either ourselves or the public will have of bearing any serviceable testimony of her praiseworthy and toilsome career - she being about to leave for England. We have no doubt, from the peculiarly adverse circumstances which prevail here, with reference to theatrical amusements, that Mrs. Clarke has little to congratulate herself upon since coming amongst us - but she appears to have encountered the endless difficulties around her with a zeal and perseverance which of themselves recommend her strongly to our own, and we hope to the public's best sympathies; we do therefore sincerely hope that the good-will which her exertions cannot but have commanded will be evinced by giving her on this occasion a crowded house. A most varied and novel bill of fare, it will be observed, has been provided and the occasion being one of interest, from the circumstance we have mentioned, will no doubt call forth all the energies of our corps dramatique.

We augur most unfavourably of the decided absence of anything like success which Mrs. Clarke has experienced here, as to the encouragement of dramatic amusements amongst us, for at least many years to come; she appears to have left no means or exertions untried, but with the same unsatisfactory result which has marked all other previous attempts. Our really beautiful little theatre is thus likely either to change its object, or to become a crumbling desolate building, before we shall be prepared to give effective support to projects of the kind. The numbers are too few here, evidently, to maintain that continuous support which would be necessary for really efficient actors even to subsist upon; a respectable and well-organized theatre would require, in this small community, almost everybody to visit it at least once a week, to keep up sufficiently numerous audiences to enable them to pay their expenses. An average of this kind is not likely to be obtained here at present, even by a decidedly clever company - we believe one from London would not obtain full houses for twenty nights consecutively; consequently, only such actors who will receive the lowest rate of pay, can be engaged, - all the other arrangements, from the necessity of economy, are inefficient, and to the natural indifference to the theatre, then becomes added, its wholly uninteresting and wretched attempts at performance, - which eventually renders it only the resort of the boisterous and most careless of the people. To avoid these consequences, it appears to us Mrs. Clarke has striven with great industry; but as the causes were beyond her reach, her battling with the effects, as a matter of course, has met with only partial success - but for her exertions and the little she has been able to do in helping our theatricals thus far on their career, we say again, she merits every countenance and support, and we trust that both families and single folk will unite on Monday next in giving her literally a bumper.

Every arrangement will, we have no doubt, be made to insure to all parties the most perfect comfort and convenience.

"CONCERT", The Courier (29 January 1841), 2 

We perceive by announcement that Mrs. Clarke, previous to her departure for England, is making one more effort to gratify and amuse her numerous friends, by giving a farewell concert, which will take place at the Theatre, in Campbell-street, on Monday next. In addition to the auxiliary services of the fine band of the 51st regiment, which has been placed at Mrs. Clarke's disposal by the permission of Colonel Elliott, we are happy to observe in the bill of particulars a considerable amount of private professional talent, likewise rallying round our indefatigable managress, to second her efforts on the present occasion. We heartily wish Mrs. Clarke the success to which her industry and exertions entitle her.

"MRS. CLARKE'S CONCERT", Tasmanian Weekly Dispatch (5 February 1841), 3 

This last attempt of the indefatigable actress to amuse the public of Hobart Town and its vicinity, on Monday last, was as successful as could, under every circumstance, be expected. Mrs. Clark, we hear, now closes her engagement as lessee of the theatre, previous to her departure for England, from whence she will proceed to some other of the British Colonies - perhaps to Sydney, with a well arraaged dramatic corps and equipment. In taking leave of her as a public character, we join with many others, who very sincerely wish her every success.

11 February 1841, the Clarkes cleared out for London, on board the Sir George Arthur

"SHIPPING INTELLIGENCE . . . DEPARTURES", The True Colonist Van Diemen's Land Political Despatch (12 February 1841), 2 

Cleared out - Barque Sir George Arthur, McKellar, for London, with oil; &c.; passengers, Mr. Petchy, Mr. and Mrs. Clarke and child . . .

London, England (July to October 1841)

Hobart Town, and VDL (8 January 1842 to 8 September 1845)

8 January 1842, Clarke and her theatrical company arrived Hobart Town

"SHIPPING INTELLIGENCE", The Courier (28 January 1842), 2

8 - the Sydney, from London, last from the Downs on the 3rd October - passengers, Mr. Stonor, Mr. Winter, Mr. and Mrs. Dickenson, Mr. and Mrs. Clark and child, Mr. Cole, Mr. Garret, Mr. Gledhill, Mr. Colee, Mr. Dartnell, wife, and child, C. Hewer, R. Chick, W. J. Fletcher, J. Carandini, F. Howser, wife, and child, Henry and John Howser, S. Macintosh and child, Emma Young.


[Advertisement: Letter from Michael Clarke], The Courier (13 January 1843), 1

E. H. Malcolm, "THEATRES IN THE BRITISH COLONIES", Fisher's colonial magazine (May to August 1843), 203 

Both at Launceston and Hobart Town, Van Diemen's Land, there are small theatres, possessing humble professional companies. That at Launceston is under the management of a lady, Mrs. Clarke. The admission-price is one dollar each person. Mrs. Wilkinson (once a popular actress in London) has, we believe, performed in this company since her arrival in Van Diemen's Land. The Hobart Town theatre is called the "Royal Victoria." A Miss Young is the prima donna. The company need be strong, since the opera of "Fra Diavolo" is announced, in one of the play-bills, to be performed with the whole of the music. The prices here are, boxes, 4s. 4d.; pit, 2s.; -no halfprice.


[Advertisement], The Courier (21 September 1844), 3 

Under Distraint for Rent.
Peter Degraves against Michael Clarke.
UPON MONDAY next, the 23rd instant, at 12 o'clock, there will be SOLD by AUCTION, at the Victoria Theatre, situate in Campbell street, in the occupation of the above Michael Clarke - House-hold furniture, including a grand horizontal pianoforte, stage furniture, theatrical scenery, lamps, &c., with other usual apparatus for a theatre. Terms-cash.
ROBERT MANN, Auctioneer.

"Domestic Intelligence", The Melbourne Weekly Courier (30 November 1844), 2 

We observe in the Van Diemen's Land newspapers, a report of an examination in the insolvency of Michael Clarke, the lessee of the Theatre Royal at Hobart Town and Launceston, in which there is about as clean a sweep as we have yet seen. The debts as set forth in the schedule, were £284 7s. 7d., the assets - real estate, none; personal estate, none; debts due to the insolvent, none!!!


"THEATRICALS", Colonial Times (15 August 1845), 3 

Mrs. Clarke and Mrs. Thomson have their joint benefit on Monday night. These Ladies are especially deserving the support of the public, and we rejoice to find their benefit is under the patronage of "the Ladies of Hobart Town" - the elite of whom will honor it with their protection. Mrs. Clarke is so well known here - her conduct in private life has been so correct and free from even the breath of calumny, that it is unnecessary to say more. Mrs. Thomson possesses an equally high reputation in private life. She is a near relative of that celebrated author and performer, Mr. Leman Reid, and possessing first-rate professional talents, the performances of Monday evening will afford a high theatrical treat, as the programme shows. We believe both these deserving ladies proceed forthwith to Port Phillip, where they will no doubt receive that public and private support, to which their correct deportment so fully entitles them.

8 September 1845, Anne Clarke and daughter sailed for Melbourne (with the Thomsons)

"Shipping Intelligence . . . DEPARTURES", Launceston Examiner (10 September 1845), 4 

September 8. - Brig Swan, 140 tons, Bell, master, for Port Phillip ; James Raven, agent. Cabin passengers - Mr. H. Lynes, Mr. J. Austin, Mrs. Clarke and daughter, Mrs. Thompson and daughter . . .

Melbourne and Geelong (12 September to 11 October 1845)

12 September 1845, Anne Clarke and daughter arrived in Melbourne (with the Thomsons)

"Shipping Intelligence", The Melbourne Courier (15 September 1845), 2 

. . . September 12. - Swan, from Launceston . . . Passengers per Swan . . . Mrs. Thomson and daughter, Mrs. Clark and daughter . . .

"THEATRICALS", Port Phillip Patriot and Melbourne Advertiser (16 September 1845), 2 

We are informed that it is the intention of Mrs. Clarke, who arrived per Swan, to commence her first theatrical campaign in the province, at Geelong . . .

"MRS. CLARKE", The Port Phillip Patriot and Morning Advertiser (10 October 1845), 2 

This lady, who has been so long at the head of the corps dramatique on the southern side of the neighbouring island of Van Diemen's Land, having lately visited Melbourne for the purpose it was affirmed of establishing a second company of comedians, takes her departure for Launceston on the Shamrock, to-morrow, not having succeeded it is said in carrying her purpose into effect.

"THINGS THEATRICAL", Port Phillip Gazette and Settler's Journal (25 October 1845), 2 

The Colonial Secretary has forwarded to Melbourne, a license for the old Theatre, Bourke-street, on the application of Mrs. Clarke, who dispensed with the custom of applying through the Melbourne bench. We believe the license has been sent - subject to the approval of His Honor the Superintendent.

10 October 1845, Clarke and her daughter sailed from Melbourne for Launceston (with the Youngs and Samson Cameron)

"Shipping Intelligence. CLEARED OUT", The Melbourne Courier (13 October 1845), 2 

October 10. - Shamrock, steamer, 200 tons, Gilmore, master, for Launceston and Sydney. Passengers - (cabin) for Launceston, Miss Barclay, Mrs. and Miss Clarke, Mr. and Mrs. Young . . .

Hobart Town and Launceston, VDL (TAS) (13 October 1845 to 20 August 1847)

13 October 1845, Anne Clarke and daughter arrived in Launceston from Melbourne (with the Youngs and Samson Cameron)

"Shipping Intelligence. LAUNCESTON. ARRIVALS", Launceston Examiner (15 October 1845), 4 

October 13. - Steam ship Shamrock, 200 tons, Gilmore, master, from Sydney and Port Phillip . . . Passengers for Launceston - . . . Mrs. and Miss Clarke . . . Mr. and Mrs. Young, Mr. Cameron . . .


23 February 1846, Clarke's benefit, Royal Victoria Theatre, Hobart Town


Launceston (8 March to late May 1847)

8 March to late May 1847, Clarke's season at the Olympic Theatre, Launceston

[Advertisement], The Cornwall Chronicle (6 to 29 March 1847), 189 

Hobart (June to 1 August 1847)

1 August 1847, Michael Clarke's benefit, Royal Victoria Theatre, Hobart

"THE THEATRE", Colonial Times (30 July 1847), 3 

It will be seen that Mr. Clarke, the Lessee of the Victoria Theatre, takes a benefit on Monday night, with a selection of pieces which are highly attractive, and with some very beautiful scenery painted expressly by Mr. Duke, illustrative of one of the roost poetical and imaginative of our Great Dramatist's productions - The Tempest. We beg to refer our readers to Mr. Clarke's announcement heading his advertisement, and sincerely hope that the appeal thereby made will be must "cheerfully and liberally responded to."

[Advertisement], The Courier (31 July 1847), 3 

ROYAL VICTORIA THEATRE, CAMPBELL-STBEET. MR. CLARKE'S BENEFIT. MONDAY EVENING, AUGUST 2. MR. CLARKE, in announcing that HIS BENEFIT will take place on the above evening, is induced to hope, from the strenuous endeavours he has always made to entertain the public during the many years he bas been lessee of the Victoria Theatre, and from the great outlay incurred in producing a succession of novelties for their entertainment, that in this his first appeal for their support and favour, it will be cheerfully and liberally responded to. The entertainments selected for the occasion will commence with (for the first time here) Shakspeare's well-known comedy entitled THE TEMPEST . . .

Launceston (5 to 20 August 1847)

[Advertisement], The Cornwall Chronicle (4 August 1847), 3 

"LOCAL . . . THE THEATRE", The Cornwall Chronicle (7 August 1847), 3 

Mr. and Mrs. Clarke having relinquished the lesseeship of the Hobart Town Theatre are now in Launceston on their way to Port Phillip. On Monday evening they ask the patrons of the Drama for a Benefit, on which occasion the entertainments will consist of the comedy of "the Loan of a Lover," an interlude called "the Intrigue," and the Ballet of the "Royal Standard," together with a variety of singing and dancing as announced in the bills for tbe night.

[Advertisement], The Cornwall Chronicle (7 August 1847), 1 

[Advertisement], The Cornwall Chronicle (14 August 1847), 1 

20 August 1847, the Clarkes sailed for Melbourne

"Shipping Intelligence . . . PORT OF LAUNCESTON", Colonial Times (24 August 1847), 2 

August 20 - Sailed the brig Raven, Bell, master, for Melbourne. Passengers . . . Mr. Mrs. and Miss Clarke . . .

Melbourne (28 August to December 1847)

28 August 1847, the Clarkes arrived in Melbourne from Launceston

"SHIPPING COMMERCIAL GAZETTE . . . ARRIVED", Port Phillip Gazette and Settler's Journal (30 August 1847), 2 

August 28, - Raven, brig, 170 tons, Ball, master, from Launceston. Passengers . . . Mr. and Mrs. Clarke . . .

"THE DRAMA", Port Phillip Gazette and Settler's Journal (28 August 1847), 2 

Some important additions to the strength of the corps dramatique of the Queen Theatre, are daily expected from Hobart Town, the proprietor having concluded engagements with some well-known to histrionic fame. Among others we are given to understand that he has secured the services of Mrs. and Miss Clarke. Mr. Duke, a very superior scene painter, has also been engaged. Other old favourites will shortly follow, and in a very little space of time, the "Queen's" will yield to no theatre in the colonies, with the exception of Sydney, of which it will be a worthy rival. Mrs. Clarke is well known and much esteemed for her dramatic talent in the neighbouring colony of Van Deimen's Land. Her daughter - Miss Clarke - is highly appreciated as a danseuse, and we nave no doubt but the two - mother and daughter - will quickly establish themselves as decided favourites. The Hobart Town press mentions them very favourably.

1 September 1847, first night of her engagement, Clarke in Kate Kearney

[Advertisement], Port Phillip Gazette and Settler's Journal (1 September 1847), 3 

First appearance of MRS. CLARKE, from the Hobart Town and Sydney Theatres.
The Performances will commence with a Grand Musical Romance, in two acts, with all the original songs and chorusses, entitled -
Kate Kearney - MRS. CLARKE.
Programme of Scenery and Incidents: -
Act 1. - Scene 1. - Kate Kearney's dream on the Fairy Banks of Killarney, (painted expressly for the piece) - The Queen of the Fairies - Chorus, "Come hither, come hither, Kate Kearney" - Kate descends through the waters of the Lake - Song, "I would not be a Fairy light" - Filadaune grants the wish of Kate, and sinks through the waters.
Scene 2. - Kate Kearney's cottage. Scene 3. - The Lakes at sun-rise - Song, (Kate) "There's not in this wide world" - The interview of the lovers - Despair of Lanty - Song, "And now that you know this, Kate Kearney" - Corney Lynch - The quarrel - The crowning of the May Queen - Chorus, "Hail Kate Kearney" Irish jig - Chorus, " Whack, fa lo, the Irish whiskey."
Act 2. - Scene 1. - The village alehouse - Determination of Lanty to meet the Fairy.
Scene 2. - Kate's cottage - Song, "Love not."
Scene 3. - A Mountain Pass - Fairy Chorus, "Forward then."
Scene 4. - The Lakes by moonlight - Interview of Lanty and the Fairy Queen - Song, Ned Ryan - Fairy's charm - Ned Ryan sinks through the Lake - Filadaune protects Rose and Kate - The wish granted - Lanty and Ned ascend - Joyous denomncnt and chorus, "The Young May Queen."
Song - Mr. Clarke.
The Dashing White Serjeant - MRS. CLARKE.
The Evening's Entertainments will conclude with an Historical Drama, in three acts, entitled -
Nights of Performance for the present - Monday, "Wednesday, and Friday.
For particulars see small bills.
Doors open at seven; the performances to commence at half-past seven o'clock; Half-price at half-past nine.
Prompter - Mr. Howard.
Leader of Orchestra - Mr. Megson.

ASSOCIATIONS: J. T. Smith (theatre proprietor); Joseph Megson (leader of the orchestra); William Clarke (vocalist)

"QUEEN'S THEATRE", Port Phillip Gazette and Settler's Journal (4 September, p. 2 

"QUEEN'S THEATRE", Port Phillip Gazette and Settler's Journal (6 September 1847), 2 

6 and 8 September 1847, Clarke in A Roland for an Oliver and The waterman

[Advertisement], Port Phillip Gazette and Settler's Journal (6 September 1847), 3 

"Queen's Theatre Royal", The Melbourne Argus (7 September 1847), 2 

"QUEEN'S THEATRE", Port Phillip Gazette and Settler's Journal (11 September 1847), 2 

"QUEEN'S THEATRE", Port Phillip Gazette and Settler's Journal (15 September 1847), 2 

13 and 15 September 1847, Clarke in Giovanni in London, and Miss Clarke dancing

[Advertisement], Port Phillip Gazette and Settler's Journal (13 September 1847), 3 

"QUEEN'S THEATRE", Port Phillip Gazette and Settler's Journal (15 September 1847), 2 

[Advertisement], Port Phillip Gazette and Settler's Journal (15 September 1847), 3 

1847 'Queen's Theatre Royal.', The Melbourne Argus (17 September 1847), 2 

27 September 1847, Clarke in Blue Beard and Love in a village

'Advertising', Port Phillip Gazette and Settler's Journal (27 September 1847), 3 

"MULTUM IN PARVO", Port Phillip Gazette and Settler's Journal (2 October 1847), 2 

A grand mass de requiem was on Tuesday last performed at the Catholic Chapel for the late Daniel O'Connell. Mr. Megson, the well known leader at the Queen's Theatre, conducted the music and Mrs. Clarke, the talented cantatrice, gave the aid of her powerful vocal abilities on the occasion.

1847 'DOMESTIC GAZETTE.', Port Phillip Gazette and Settler's Journal (4 October 1847), 2 

[Advertisement], Port Phillip Gazette and Settler's Journal (6 October 1847), 3 

1847 'Local Intelligence.', The Port Phillip Patriot and Morning Advertiser (Vic. : 1845 - 1848), 7 October 1847), 2 

[Advertisement], Port Phillip Gazette and Settler's Journal (11 October 1847), 3 

1847 'Local Intelligence.', The Port Phillip Patriot and Morning Advertiser (Vic. : 1845 - 1848), 12 October 1847), 2 

1847 'DOMESTIC GAZETTE.', Port Phillip Gazette and Settler's Journal (16 October 1847), 2 

"PORT PHILLIP. MRS. CLARKE'S BENEFIT", Colonial Times (5 November 1847), 3

As this will be probably the last time Mrs. Clarke will appear before a Melbourne audience, we trust the public will not lose the opportunity of hearing a really good song.

[Advertisement], Port Phillip Gazette and Settler's Journal (18 October 1847), 3 

"DOMESTIC GAZETTE", Port Phillip Gazette and Settler's Journal (18 October 1847), 2 

"Local Intelligence", The Port Phillip Patriot and Morning Advertiser (20 October 1847), 2 

"DOMESTIC GAZETTE", Port Phillip Gazette and Settler's Journal (23 October 1847), 2 

[Advertisement], Port Phillip Gazette and Settler's Journal (23 October 1847), 3 

"DOMESTIC GAZETTE", Port Phillip Gazette and Settler's Journal (30 October 1847), 2 

[Advertisement], Port Phillip Gazette and Settler's Journal (30 October 1847), 3 

"Queen's Theatre Royal", The Melbourne Argus (2 November 1847), 2 

[Advertisement], Port Phillip Gazette and Settler's Journal (3 November 1847), 3 

"Queen's Dheatre Royal", The Melbourne Argus (5 November 1847), 2 

"DOMESTIC GAZETTE", Port Phillip Gazette and Settler's Journal (10 November 1847), 2 

"DOMESTIC GAZETTE", Port Phillip Gazette and Settler's Journal (17 November 1847), 2 

"Local Intelligence", The Port Phillip Patriot and Morning Advertiser (19 November 1847), 2 

"QUEEN'S Theatre Royal", The Melbourne Argus (19 November 1847), 2 

"Queen's Theatre Royal", The Melbourne Argus (23 November 1847), 2 

[Advertisement], The Port Phillip Patriot and Morning Advertiser (29 November 1847), 3 

[Advertisement], Port Phillip Gazette and Settler's Journal (1 December 1847), 3 

[Advertisement], The Port Phillip Patriot and Morning Advertiser (6 December 1847), 3 

[Advertisement], The Melbourne Argus (7 December 1847), 3 

[Advertisement], The Port Phillip Patriot and Morning Advertiser (10 December 1847), 3 

[Advertisement], The Port Phillip Patriot and Morning Advertiser (11 December 1847), 3 

[Advertisement], The Port Phillip Patriot and Morning Advertiser (20 December 1847), 3 

[Advertisement], Port Phillip Gazette and Settler's Journal (27 December 1847), 3 

30 December 1847, last night of the season, Queen's Theatre, Melbourne

[Advertisement], The Port Phillip Patriot and Morning Advertiser (30 December 1847), 3 


"DOMESTIC GAZETTE", Port Phillip Gazette and Settler's Journal (15 January 1848), 2 

Mrs. Clarke from Hobart Town, has retired from the Theatre.

Bibliography and resources

Smith 1890

[James Smith], "THE MELBOURNE STAGE IN THE FORTIES. By J. S. No. IV.", The Argus (7 June 1890), 4

On the 1st September [1847], a Mr. and Mrs. Clarke arrived from Tasmania. Both of them were vocalists, and the lady added dancing to her other accomplishments. There was a succession of musical pieces, and "Kate Kearney", "Giovanni in London", "Love in a Village", and "The Waterman" figured on the bills. But the influenza must have seriously interfered with the theatre, disabling the company and diminishing the audiences . . . The Clarkes made their last appearance and took a benefit in "Guy Mannering" and "No Song No Supper" on the 18th of October . . .

Webby 1995

Elizabeth Webby, "Anne Clarke", in Philip Parsons (ed.), Companion to theatre in Australia (Sydney, 1995)

Gyger 1999

Alison Gyger, Civilising the colonies: pioneering opera in Australia (Sydney: Pellinor, 1999), 22-45, 247, 248

Alexander 2006

Alison Alexander, "Anne Clarke", The companion to tasmanian history (Hobart: Centre for Tasmanian Historical Studies, 2006)

Anae 2005

Nicole Anae, "A crowned and selected band of women": Tasmanian actress/celebrities of the nineteenth century and "home-grown" identity (Ph.D thesis, University of Tasmania, 2005) (DIGITISED)

Jones 2007

Maree-Rose Jones, "Musical activities at the Royal Victoria Theatre, Hobart, Van Diemen's Land", Tasmanian Historical Research Association Papers and Proceedings 54/3 (December 2007), 144-53;dn=574239150440218;res=IELHSS (PAYWALL)

Jones 2009

Maree-Rose Jones, Musical activities at the Royal Victoria Theatre, Van Diemen's Land: a study of cultural practice 1827-1857 (Ph.D thesis, University of Sydney, 2009) 

Skinner 2011

Graeme Skinner, First national music (2011), 46, 154, 275-80 passim (DIGITISED)

Adelphi Theatre calendar 2016

The Sans Pareil Theatre 1806-1819, Adelphi Theatre 1819-1850: an index to authors, titles, performers (1988), and The Adelphi Theatre 1850-1900: an index to authors, titles, performers and management (1992); The Adelphi Theatre calendar revised (reconstructed and amplified by Alfred L. Nelson, Gilbert B. Cross, Joseph Donohue; copyright 1988, 1992, 2013 and 2016; Creative Commons 3.0) 

[Summary] Remens, Miss
chorus of vintagers (14) in Phillip of Anjou; or, A Forest Adventure (8 Apr 1833-4 May 1833)
chorus of Zingari, peasantry (22) in Zingaro, Lo (3 Aug 1833-20 Sep 1833)
contraltos (6) in Nero, a Roman-tick Fiddler (19 Aug 1833-24 Aug 1833)
Ghost of Messalina (7) in Nero, a Roman-tick Fiddler (26 Aug 1833-2 Sep 1833)
ladies of Earl's Court (3) in Cellar Spectre, The (11 May 1833-16 May 1833)
landlady (15) in Four Sisters, The (8 Jul 1833-21 Sep 1833)
Minerva (5) in Midas (24 Jul 1833-21 Aug 1833)
Mona (5) in Convent Belle, The (8 Jul 1833-20 Jul 1833)
The Three Miss Graces (6) in Cupid (8 Apr 1833-9 May 1833)
the two Misses Starchblossom (30) in Climbing Boy, The; or, The Little Sweep (15 Apr 1833-6 Sep 1833)
villagers (6) in Jessie, the Flower of Dumblane; or, Weel May the Keel Row (30 Aug 1833-7 Sep 1833)
villagers, masquers (12) in Court Masque, The; or, Richmond in the Olden Time (9 Sep 1833-21 Sep 1833)

"Anne Clarke (theatre manager)", Wikipedia

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