Sturmpanzerwagen A7V 506 "Mephisto" - Brisbane's German Tank.

 

Background.

On the 21st March 1918 the German army on the western front launched Operation Michael, this spring offensive was designed to smash through the allied defences in the Somme region before the effect of the incoming American troops could be felt. Around an extra 50 divisions had been rushed over from the eastern front after the Russian defeat and the signing of the Brest-Litovsk Treaty, this gave the Imperial German Army a temporary advantage in numbers.

Operation Michael was the main attack, there would be three other minor offensives (Georgette, Gneisenau and Blücher-Yorck) to draw allied forces away and cause confusion. The object was to punch a hole through the British lines and swing up to the English Channel, with the British in full retreat it was hoped the French would seek an armistice.

This operation was to be the first that would include a German made tank, the Sturmpanzerwagen A7V, the A7V was steel monster sporting a forward firing 57mm Maxim Nordenfelt cannon and six MG08 machine guns, it had a crew of up to 18 and crawled along at between 9 and 4 mph, depending on the ground it was traversing.

A7V 506 entered service sometime around December 1917 and was commanded by Lieutenant Heinz Theunissen, he named the tank 'Mephisto'. The name was painted on the front and back armour, on the front a devil carrying British tank side armour was painted, this was from a Persil Laundry advertisement that was popular at the time.

The Second Battle Of Villers-Bretonneux.

The attack on the Somme saw the allies thrown back to the old battlefields of 1916, ground won through the shedding of so much blood. It was on the 24th to the 27th April that the second battle of Villers-Bretonneux was fought, the area had been heavily shelled by the Germans in preparation and air was dangerously contaminated with mustard gas. 

Facing the Germans were the remains of the British 8th Division, the 173rd Brigade, and the Australian 13th, 14th and 15th Brigades backed up with two Mark IV females tanks and one Mark IV male (female tanks were armed with machine guns, male tanks had two six pounder 57mm cannons), and seven Whippet medium tanks.

British Mark IV Male Tank

It was during this battle that the first tank on tank confrontation took place. The three British Mark IV tanks were despatched to the Catchy area as intelligence said there was a serious German advance in that direction. The British tanks advanced toward the German lines, soon they came across A7V 'Nixe' under the command of the wonderfully named 2nd Lieutenant Wilhelm Blitz.

A7V 'Nixe' immediately fired on the lead British tank punching a hole in its side, unfortunately the two lead tanks were of the female type and their machine guns could not penetrate the thick armour of the A7V. Turning to disengage the other female tank also took a hit to its side, the wounded and vulnerable crews managed to get their tanks out of the way, now the male tank with its two six pounders came into the fray.

British Mark IV Female Tank

The male Mark IV had to keep moving as the German artillery were trying to knock it out and the A7V was maneuvering to engage. The Mark IV managed to hit the A7V six times with its cannons, the German tank was still in the fight but it managed to become ditched and keeled over onto its side, the crew of 18 managed to get out but 9 were killed as they fled.

Two more A7V's arrived, closing in on the British tank, but they were driven off by the fine shooting of the Mark IV gunners. Being horribly exposed to German artillery the Mark IV turned to retreat, German infantry had massed for the attack, but they were decimated by seven British Whippet tanks that had arrived to support the heavy tank, only four Whippets returned after the engagement.

British Whippet Medium Tanks

The Mark IV was eventually crippled by mortar fire and the crew abandoned it, escaping into a British trench. A7V 'Nixe' was recaptured by German infantry but efforts to restart the engines failed and it was blown up with demolition charges. At this time another one of the A7Vs became hopelessly ditched in a newly created shell hole, this tank was not destroyed, in fact it would stay in situ for the next three months, this was A7V 506 'Mephisto'.

The battle would rage on for a few more days with the Australian and British forces eventually retaking Villers-Bretonneux at great cost, but with this town secured the road and rail network to the very important transport hub of Amiens was also secure, it was an important victory.

The front line would creep forwards and the allies gained ground, as the allies advanced they came across another A7V, this one was called 'Elfriede', it was the first A7V to be captured intact, and was recovered by British and French troops. The advance continued with many small battles around strong points and outposts.

A7V Elfriede, the first A7V to be captured.

One of these outposts was at Monument Wood, here on the 9th July men of the 28th Battalion of the Australian Imperial Force raided and discovered 'Mephisto' in its shell crater, however, due to intense fire they had to withdraw and hand over the assault to the 26th Battalion. On the 13th July the 26th Battalion AIF cleared the wood and with it the derelict A7V 'Mephisto' fell into their hands.

A Captured Mark IV Female supports German infantry.

Recovering Mephisto.

The tank was still very much within range of German positions, so any recovery would be fraught with danger, so the Australians attacked the German lines two more times and drove them further back, eventually the Gun Carrier Company of the Tank Corps were able to creep forward and connect steel cables to Mephisto and drag the tank out of its muddy hole.

The operation was covered by artillery attacks across the German lines and aircraft buzzing over head, unfortunately the German artillery had a pre planned artillery strike ready to go, and so shells, some with gas, slammed into the area of operations, all of those of the Tank Corps and the men of the 26th AIF had to wear gas masks the whole time Mephisto was recovered.

The tank was eventually dragged back to the allied lines, men of the 26th AIF covered its tracks so German spotter planes could not see where it had gone, eventually it was deposited at the tank training ground at Vaux-en-Amienois, it was here that the tank was covered in graffiti by curious soldiers.

 The Daily Mail - Saturday 21st December 1918.

It was soon very apparent that A7V Mephisto was to be shipped to Australia, and Brisbane was the destination. The tank was transported to Poulainville where there was a railway siding to take it to Merlimont, Dunkirk and then on to London.

Mephisto showing the graffiti.

New Home In Australia.

Parked up in England prior to embarkation.

On the 2nd April 1919 at Tilbury docks, Mephisto was loaded aboard the steamship Armagh along with returning ANZAC troops for the long journey back to Australia. Meanwhile back in Australia the final destination for this most prized souvenir was in question, Melbourne was requesting delivery, while up in Queensland their Agent General Sir Thomas Robinson was determined that the tank was theirs as the 26th Battalion that captured it were Queenslanders.

The Steamship Armagh.

The Toowoomba Chronicle - Saturday 7th June 1919;

"Valued War Trophy.

The German tank, which was captured by the 26th Battalion at Monument Wood (Villers-Bretonneux) on the 14th July 1918, was landed from the steamer Armagh this afternoon.

It is a cumbersome machine, weighing about 30 tons, and is the heaviest lift which has yet been made in Brisbane. The operation was successfully and expeditiously carried out."

Mephisto being unloaded from the Armagh.

The Telegraph - Saturday 23rd August 1919;

German War Tank.

Removed to Museum.

Rumblings at Midnight.

The noise of heavy machinery rumbling through the street, shortly after midnight, awakened more than one resident of Brisbane out of his sleep. Had they gone to their windows to see what it was all about, they would have seen an unusual sight - a 60 ton (slight exaggeration!) German tank being drawn along by two city council steam rollers. This huge weapon of modern warfare was being transported from the Norman Wharf to the museum at the Exhibition.

The task was commenced at midnight, and was not completed until about 11am. The tank arrived at Brisbane by an overseas ship more than two months ago. She has lain on the Norman Wharf since that time, and Queenslanders will be pleased to learn that she has at last landed at the museum, in the open space at the main entrance, to which the trophy now stands the object of curiosity of many visitors.

Mephisto and the Steam Rollers.

The transportation was carried out under the supervision of Mr R. D. Clissold, foreman of works, Brisbane City Council. He was assisted by Mr Adam Bell (ganger). Most difficult of all was the work of drawing the tank through the main gateway of the museum grounds. 'Mephistopheles' looked too big and cumbersome to crawl through without injuring the brick pillars on either side of her.

It was a ticklish job, and one of the iron gates had to be removed before it could be effected. Slowly but surely the tank wormed its way through, and beyond cutting up the gravel way very considerably, it did no damage. Once inside, it did not take long to pull the tank into its appointed place."

Mephisto in its first position.

Even at this late stage questions were still being asked about Mephisto's final resting place, but finally in October 1920 it was settled.

Queensland Times - Monday 18th October 1920;

"Melbourne - Friday.

At a meeting of the Australian War Museum Committee had today, it was decided that the German tank 'Mephisto,' now on exhibition in Brisbane, should be allowed to remain there instead of being removed for exhibition in the Australian War Museum, when established, as was originally intended."

The fears of weather damage were very real, the tank was open to the elements and something needed to be done.

The Brisbane Courier - Thursday 10th February 1921;

"Some time ago the 'Courier' pointed out that the German war tank 'Mephisto,' which was captured by Queenslanders and forwarded to this state as a war trophy, was lying in the grounds of the Brisbane Museum exposed to the ravages of the weather.

The Government has now taken steps to erect a shelter over this interesting memento, and the building is in course of erection."

The Telegraph - Saturday 23rd July 1938

Mephisto is the only surviving A7V tank in the world, there are parts of them in various museums around the world, but this is the only complete example. The tank was moved several times over the years, but even under shelters the tank was deteriorating, it needed some restoration and looking after.

Mephisto in the 1960s.

Finally in 1986 Mephisto was moved to the Queensland Cultural Centre, this location was big enough for the tank to be housed inside, in 1988 a German team came to see Mephisto to take measurements and gain knowledge enough to go back and construct an A7V for themselves, this tank is named 'Wotan'. 

In 2023 the tanks original compass was returned, it had been taken as a souvenir by a soldier on its landing in Australia. Recently the tank has been preserved behind glass in a temperature controlled environment, one of the world's rarest tanks is now preserved for future generations.

Musically Mephisto has been mentioned in two songs, one by Ukrainian metal band 1914 on their album "Blind Leading The Blind" with the track "A7V Mephisto" and by Einstürzende Neubauten on their album "Lament" on the track "How Did I Die?".

W.E Holloway - An Australian Count Dracula.

Background.

William Edwyn Crowther Holloway was born in Adelaide, South Australia on the 18th September 1885. 

W.E Holloway.

His parents were famous thespians W. J Holloway and Emily Jennings (stage name Kate Arden).

His father had emigrated from England to Australia with his family in 1856, he became a boilermaker by trade, but in 1862 he began to pursue an acting career. He married Maria McKewen in 1863, they would have three children, but she would sadly die in 1876. 

He married Emily Jennings in 1877, Emily was the widow of a Dr Jennings, she had a daughter from this marriage who would also become a famous actor, Essie Jenyns. Her first professional appearance would be at the Academy Of Music in Launceston, Tasmania, in 1886.

They would also have a son, William Edwyn.

Returning to England with his family in the autumn of 1888, his father joined the ranks of Henry Irving and Ellen Terry at the Lyceum Theatre, his father was so well thought of and talented that he was chosen to be one of Irving's understudies. Through this posting he would also become an acquaintance of Bram Stoker, the famous author mentions him in his book Personal Reminiscences of Henry Irving (1906).

By 1910 W.E Holloway was an actor manager with the actor Matheson Lang, with their troupe they toured the provinces extensively, and took Shakespeare to South Africa, India, Burmah and the Philippines.

On the 7th April 1913 his father, W. J, died.

Dracula.

Hamilton Deane

In 1923 actor and playwright Hamilton Deane was granted permission from Bram Stoker's widow Florence, to rewrite the famous novel into a stage production. The play opened on the 15th May 1924 at the Grand Theatre in Derby, and so successful was this play that it toured around the world. It toured the USA in October 1927 with a rewrite by John L. Balderston, and with Bela Lugosi as the Count, that version would be filmed by Universal Studios and released in 1931.

Bela Lugosi as Dracula, 1927.

Talking about the international performances of Dracula, Holloway told a reporter of the Leicester Chronicle; 

"I was taken round the Chinese theatres in Shanghai, and a delightful moment occurred when a very courteous gentleman spoke to my Chinese guide. 'Do you know who that was?' my guide asked me afterwards, to which I replied 'no,' 'That is the chief of the Pickpockets Guild,' I was told."

Holloway began performing the part of Count Dracula in 1927 opposite Hamilton Deane as Professor Van Helsing. Holloway would also direct the play on this 1927 - 1928 season.

As a marketing ploy, a ploy which would extend for decades, a nurse was alleged to be in attendance at performances to tend the patrons of a nervous disposition, as the Oxford Journal humorously put it;

"The power of suggestion knows no limitation. Stories were told of theatre goers who fainted during performances of 'Dracula' in London, and of hospital nurses in attendance. Such stories were repeated at the New Theatre on Monday night, but having sat through the show the audience came to the conclusion that the terrors of the play had been overestimated."

The supernatural strain, while giving it interest, does prevent it from being too nerve wracking, since vampires do not exist, but the fight against such evil powers is full of interest."

As the months and years passed by the cast changed bit by bit, Van Helsing was now played by Serge de Kazarine to great reviews, the Perthshire Advertiser Sept 1929;

Serge de Kazarine.

".....a drama of this kind with a plot and incidents, which are already familiar to the majority of playgoers, depends wholly for its success on the 'persuasiveness' of it's actors....

The heaviest work of all falls to M. Serge de Kazarine as the Dutch scientist, Professor Van Helsing. He throws himself wholly into the part, and the combined force and lucidity with which he expounds his theories temporarily convinces even the most sceptical that they are more than merely plausible.

M. de Kazarine's command of English is perfect, and his accent adds greatly to the artistic distinction of his personation.

Mr W.E Holloway is an admirably sinister and repellent Count Dracula; and Mr A. Edward Spronston shows decided power as the lunatic Renfield. Miss Nan Braunton skillfully differentiates the various stages in the illness of the vampire's victim, Mrs Harker, and impresses by her strong acting in the principle and most thrilling of scenes.

A. Edward Spronston as Renfield.

The Hull Daily Mail;

"Throughout the performance the audience were kept up to a high pitch, and so tense was the atmosphere set up that one felt that it was a pity that there had to be any change in the scenery.

As it always the case with such plays there are scenes which are left entirely to the imagination of the audience, and these are presented in such a vivid fashion as to lend an eerie, and very near terrifying atmosphere to the whole thing.

W.E Holloway, as the vampire Dracula played a remarkably real part. Mr A. Edward Spronston, the lunatic Renfield in the power of the Count, displayed wonderful aptitude and we saw only too little of him.

W.E Holloway as Count Dracula.

The Derbyshire Advertiser and Journal;

"Dracula, with all its horror and superstition, is a very good play, which stands high and alone on the pedestal of sensationalism. Mr Deane himself was as satisfactory as ever in the role of Van Helsing, whilst Dora Mary Patrick retained her part of the pale and listless victim of the vampire. 

The Count Dracula of W.E Holloway secured the acme of effect, and A. Edward Spronston gave a powerful study of the supposed madman, Renfield."

A Press Photo of Holloway as Dracula.

There were many actors that played Count Dracula in the Hamilton Deane Company over the years, Holloway was but one. While Bela Lugosi was treading the boards in the American version of the play, Holloway was doing the same in Britain, by the time the Universal Dracula was released in 1931 Holloway had already hung up his cloak. He would go on to appear in 29 movies and TV movies in his long career, sadly for posterity, none of them was Dracula.

W.E Holloway died at the age of 66 on 30th June 1952.

The Power Of The Cross - The First Touring "Dracula" Play.

Dracula has been a significant cultural fixture throughout the 20th century, and is still going strong. The novel was published on the 26th May 1897, the week before publication a "copyright play" was performed at the Lyceum to shore up the dramatic adaptation rights. Anyone wanting to put the Count on stage would have to tread very carefully indeed, eight years later a play would push those boundaries.

The Power Of The Cross was a play written by George A. De Gray, the play had it's copyright performance at the Royalty Theatre, Chester in May 1905. Towards the end of the year it was taken up by Lingford Carson's Tours of Liverpool, and received rave reviews and full houses all over the UK from December 1905 and well into 1909.

The first performance was at the Queen's Theatre, Keighley, on Saturday the 23rd of December 1905. "The Era" of 6th January 1906 said;

The Era - Saturday 25 November 1899

 "Amongst the dramas produced by Mr Lingford Carson at this theatre, perhaps none has met with so cordial a reception as The Power Of The Cross, and it is pleasing to note a record week's business had been done. The author has composed an original play abounding in startling incidents, and interspersed with humour and abundant pathos."

"The principal character is Baron Woulfe Curzola. To all appearances, he is an ordinary human being, and his entrance in the first act creates no unusual curiosity. Later, however, he assumes satanic shape as the Vampire. He emerges through the trunk of an oak tree, heralded by thunder and lightning. His exits are of a startling nature, and an intense weirdness is added by the hoot of an owl."

Lingford Carson

"The only antidote for Curzola's deadly work being the power of the cross. The heroine is the possessor of that cross, which is a gift from her lover, and visits the Baron's tomb in Dalmatia. Three stabs into the coffin of the last of the Curzolas ends the fearful work of the vampire."

There are several nods to the famous vampire tale by Bram Stoker, the plot is slightly changed, all the names of the characters are different and even the vampires place of origin was changed, instead of Austro-Hungarian Transylvania we are taken instead to Austro-Hungarian Dalmatia. The cross still holds power over the undead, hence the name of the play, he uses hypnotic powers, he is chased to his native land by a group of vampire hunters, and he is killed with a knife plunged through his heart, however, there is no mention of it being a bowie knife and the kukri is omitted.

In 1908 the play headed south to New Zealand and Australia, where it enjoyed a great deal of success playing in theatres all over those countries.

Curzola is not repulsive!

The Newcastle Morning Herald and Miners Advocate, Wednesday 8th January 1908 stated;

 "At the Victorian Theatre. The Power Of The Cross is an intensely dramatic creation, which last night held the audience until the curtain descended. It is a mystic story of a superhuman satanic influence, into which tradition has been interwoven. Curzola, the last of his race of human vampires, which lives in a fortress in Hungary, is the centre around which a clever act of incidents has been woven, resulting in a play of unusual merit."

"Curzola conveys the impression of an evil hypnotic power, more by his remarkable gestures and make up than by the text....Curzola introduces a disease baffling to science into English homes, and which, as with the direct power the creature uses, can only be assailed by the power of the cross."

 The Bulletin. Vol. 29 No. 1467, 26th March 1908.

"Burglar's Alley, Whitechapel. (Act III).

Leslie, a refugee from gaol, in the lodgings of Mr and Mrs O'Dowd, his humble though devoted friends. While there, the brilliant young fellow unearths a medical treatise 'translated from the German 100 years ago by the famous Dr Johnson,' which tells the way to out a vampire when you meet him. 'Joy, oh joy!' In the midst of congratulatory hand wringing the lights would die away, a long drawn wail sounds, and Woulfe materialises.

He throws Dr Johnson's invaluable work into the fire. Fortunately O'Dowd plunges forward and salvages the volume. Dreadful things now occur. The vampire is annoyed. He towers, with arms held high and hands drooping, and makes sharp prodding movements in Leslie's direction.

The young physician wilts. He subsides behind a screen. When he emerges his hair is white. Later, Woulfe invades Margaret's boudoir, and towers and prods at her as well; also he vamps her innocent child with fatal results. 

England wearies him, he has now outstayed his welcome, and he returns to his native land. This he does and appears crouching amid the ruins of his ancestral abbey. Hardly had the vampire hunters arrived on the scene than he begins his old tricks. So Leslie's young lady holds up a gold cross, and Rita steps forward with her knife and stabs Woulfe so that he dies. And the popular verdict is that it serves him right."

The play finally ended it's prolonged Australian tour in 1912, in the advertising any pretence to this not being loosely based on Bram Stoker's Dracula went out of the window!

The Age - Saturday 3rd February 1912.

“A long felt want.

Saturday Next, 10th February.

The Mystic Sensational Play.

THE POWER OF THE CROSS.

A Dramatisation by George de Gray of Bram Stoker’s Notable Novel, Dracula, in Four Acts and Twelve Scenes.

MANAGERIAL NOTE - The Melbourne Dramatic Company have taken a long leave of Wirth’s New Hippodrome, which has been converted into a modern theatre, cool and up to date in every particular. In this commodious building - its seating capacity is 3500 - a rapid succession of stirring dramas will be presented, at frequent intervals, at prices to meet the times.

The charges of admission will be from 6d to 2s. There will be nothing cheap about the productions. All who can admire good scenic effects and sound acting will find their wishes amply provided for.

The Opening Piece,

THE POWER OF THE CROSS.

Is a play along approved modern lines. The Author tells a story which is worthwhile. There is a powerful love interest, and sensation after sensation follow one another in logical sequences. In real life tragedy is never far from comedy. Laughter and tears are our common portion, and the playwright has, in this respect, boldly held the mirror up to nature.

Full particulars will be announced from day to day in the metropolitan press.”

The New Hippodrome was part of the Wirth’s Park Circus complex in Melbourne, by 1912 Wirth’s had expanded their business to Sydney, while this was going on they hired out the New Hippodrome in Melbourne for stage performances. Wirth’s Park would become a hospital during the Great War and would finally burn down in 1953.

Wirth's Park, the Hippodrome is top right.

Reviews.

The Herald - Monday, 12th February 1912.

“New Hippodrome

Power Of The Cross.

The Melbourne Dramatic Company’s experiment of providing dramatic entertainment at cheap rates was begun most auspiciously at the New Hippodrome Theatre, Wirth’s Park, on Saturday night.

The Power Of The Cross, a dramatisation by Mr George De Gray of Bram Stoker’s novel ‘Dracula’, was selected as the opening piece, and it was full of sensation, interspersed with some clever comedy. The plot mostly revolves around the doings of Baron Woulfe Curzola, a ‘human vampire,’ who performs all the blood sucking feats popularly attributed to the vampire. The only way in which his evil machinations can be defeated is by exhibiting a cross to him, and from this circumstance the name of the play was derived.

The part of Baron Curzola was taken in a masterly manner by Mr W. Dalgleish, while Mr Robert Inman presented a good characterisation of the weak Gerald Fairfax. As the adventuress prepared to do anything to attain her ends, Miss Ada Guildford could not have been better placed, while Miss Maud Appleton played the sweet ill used heroine with success.

Robert E. Inman

The company was exceedingly well balanced on the whole. In addition to those already mentioned, Misses Marle Greville and Margaret Linden, and Messers W. Vincent, G. Edwards, F. Patey and others in minor parts did all that was required of them, while the comedy element provided by Mr Frank Crossley and Miss Lillian Wiseman was keenly appreciated by the audience.

The Power Of The Cross will be shown for the next fortnight, and will then be replaced by  'The Heart Of A Hero’, for the next piece the company will be further strengthened.”

The Argus - Monday 12th February 1912.

The auditorium is semi circular in form, and covers the entire floor space. Its centre is occupied by stalls and reserved seats, the pit in tiers surrounding them on every side. The stage is a very large one, and the lighting is perfect.

The piece selected for the opening performance is an adaptation of Bram Stoker’s Dracula, under its modern title the Power Of The Cross, it results in a mystic, exciting melodrama that required just the forceful presentation it received at the hands of the Melbourne Dramatic Company.

The story hinges on a cheque forged by Gerald Fairfax; the murder of a postman who is bringing it to Gerald’s employer by the arch villain of the play; and the conviction, escape from prison, and pursuit of Dr Leslie Fairfax, who wrongly suffers for the forgery and murder.

Mysticism is introduced by a figure, half man, half devil, Baron Woulfe Curzola, who haunts the characters through out and conducts himself in the manner vampires are credited with. In the end the dead past is allowed to bury its dead, all the wrongs that can be are righted, and Curzola meets his well merited doom amidst the ruins of his own abbey, situated in picturesque Dalmatia.

The cast includes many members who are favourably known to Melbourne audiences. Mr Robert Inman play the role of the weak and erring Gerald Fairfax, a man who sins impulsively and seeks oblivion in intemperance. As the adventuress out after wealth, and using any vile methods or accomplice in obtaining it, Miss Ada Guildford is well suited, and in her way discloses herself a fiend quite the equal of Curzola.

Her overreaching husband, who falls easy prey to the confidence tricks of the comic people, is keenly appreciated by Mr Walter Vincent, an actor who makes his points by a quiet, polished, incisive manner and crisp delivery that always tell.

The Power Of The Cross, which has been seen in Melbourne before, is well staged and dressed, a realistic fire scene, in the second act, and the rescue of those in peril drawing rounds of applause. The company, which will be still further augmented by the inclusion of two or three well known actors, will next produce the modern play, The Heart Of A Hero.”

From an advertisement dated 12th February “Thousands have read Bram Stoker’s famous story Dracula…..Hundreds of thousands will come and see the dramatisation entitled ‘The Power Of The Cross.”

Melbourne Punch - Thursday 15th February 1912.

“The play is cast upon sterling and frankly melodramatic lines, and if these are in the main conventional, there is a sufficiency of sensation and excitement in the drama to keep the audience attentive and excited.

Interwoven with the time honoured and ever enduring contest between Virtue and Vice (both with capitals) are some of the mysticism of ‘Faust’ and the blood curdling  attributes of ‘The Face At The Window.’

The drama is founded on Bram Stoker’s ‘Dracula,’ and the most important personage in the play is Baron Woulfe Curzola, a cheerful vampire king, who goes about the world literally sucking the blood of all and sundry. He sucks the blood from their veins, and is thus a trifle more gruesome in his methods than his descendants, the mining and other company promoters.

One thing, however, in common with other evil things he cannot stand, and that is the power of the cross. That sends him to grass in each round for his ten seconds, and finally knocks him out altogether.

There are a number of sensational situations in the play, and all are well managed, notably a big fire scene. The acting, as might have been anticipated, is good. It is intended as soon as possible to furnish the patrons with a new and agreeable entr’acte lounge in the shape of a garden in the park, in which, between the acts, the audience so inclined may enjoy fresh air, cool breezes and refreshments.”

Table Talk - Thursday 15th February 1912.

“A notable addition to Melbourne theatrical houses was made on Saturday evening, when Wirths’ transformed Hippodrome was opened as a theatre for melodrama. The play chosen for the opening night, ‘The Power Of The Cross’, is an adaptation of Bram Stoker’s ‘Dracula’, which in the original is so sensational and creepy, characteristics which it has certainly not lost in the process of dramatisation by Mr George De Gray.

The sensations came thick and fast, among them being murders, forgery, a big realistic fire scene, and the hunting down of the mysterious ghoulish vampire king. The plot moves from England to Dalmatia, which gives scope for picturesque settings.

The character around which the action revolves is the vampire, just as it does around Mephistopheles in ‘Faust,’ indeed, he recalls Mephisto in being only susceptible to the influence of the cross, but he is far more ghoulish in his actions, attacking those he wants to overcome by attacking literally with tooth and nail.

Mr Walter Dalgleish in this role, Baron Woulfe Curzola, came out with flying colours. He acted with dash and vigour, and was such a convincing villain as to be excreted by the audience. Miss Ada Guildford, as his partner in crime and villainy backed him up in the most whole hearted way. These two were particularly dramatic and forceful in their actions.

Miss Maud Appleton, as the heroine, Margaret Seaton, won much favour from the audience, as she endured all her tribulations sweetly and uncomplainingly. Mr Robert Inman, as the weak Gerald Fairfax, whose troubles drive him to intemperance, is the hero.”

Melbourne Punch - Thursday 15th February 1912.

“The Melbourne Dramatic Company, under the joint management of Len Davis and our beaming acquaintance, Michael Joseph, has started a long season of melodrama at Wirths’ Hippodrome, and at present is filling the waste spaces in the papers with extraordinary news of its operations.

The first play submitted to notice was ‘The Power Of The Cross,’ in which, if one remembers rightly , a super demon named Woulfe Curzola has a habit of moaning thrice in a greenish limelight before thirstily sucking his victim’s blud (sic).

Woulfe is a patient, if omniscient monster, and the management is to be congratulated for unchaining him nightly for prices of a fearfully popular character. Fees ranging from 2s to 6d a head are all that are painlessly extracted for the pleasure of observing the awful Woulfe, and considering that almost any sum might be demanded under the circumstances, the moderation of the charges looks like sheer philanthropy.”

From an advertisement dated the 15th February;

“THE POWER OF THE CROSS, comedy, sensation and pathos.

Resume Of The Scenes And Incidents:-

The Lawn, Sunnyside, Kingstone-On-Thames, Curzola’s Kiss, The Downward Path, Burglar’s Alley (Whitechapel), A Terrible Discovery, The Ruins - The Abbey, The Last Of The Curzolas.

The Maitland Daily Mercury - Monday 19th February 1912.

“Sensational Stage Incident.

Actor Stabbed.

Considerable sensation was caused towards the close of the performance of ‘The Power Of The Cross’ at the New Hippodrome, Wirth’s Park, Melbourne, on Saturday evening, by an accident which might have had very serious consequences.

The play works to a climax, in which the adventuress, who is Miss Ada Guildford, in a frenzy of remorse rushes upon the villain (Mr Walter Dalgleish), and stabs him to the heart.

On Saturday evening as Miss Guildford sprang with a dagger in her upraised hand, Mr Dalgleish tripped, and the blade, instead of being cunningly buried in the clothes of the stage victim, struck him above the left eye. Mr Dalgleish, who was visibly affected, exclaimed with more than ordinary feeling, ‘Good heavens, woman, you have stabbed me,’  and the curtain was dropped as he staggered off the stage.

Dr Davis, who happened to be in the audience, was called in attendance. He found that the blade had glanced off the bone. Had it struck a little lower the point of the weapon would have pierced the eye. Mr Dalgleish is not incapacitated through his painful experience." 

On the 20th April 1912 Bram Stoker died, but his Count lives on. After a short revival in the early 1920's the author of the play Mr George A. De Gray, obviously still worried about copyright issues, and following the action Bram's widow Florence took against Prana Films on their release of "Nosferatu" in 1922, who can blame him! On the 26th November 1924 he wrote a letter to "The Era";

The Era - Wednesday 26th November 1924.

"The Power Of The Cross.

Sir, I notice the announcement of a forthcoming tour of 'Dracula.' To avoid any discussion in the future, I should like to draw attention to the fact that on Boxing Day, 1905, at the Queens Theatre, Keighley, in conjunction with the late Lingford Carson. I produced and afterward toured continuously for four years with sensational success, 'The Power Of The Cross,' the Colonial rights of which were secured by the late George Marlow, who ran it for a long period throughout Australia and New Zealand.

This play, which was the first, and so far as I am aware, up to now, the only one to introduce the Dracula type of character to the public, was suggested by an old Austrian legend, published in 'Chambers Journal' in 1874 or 76'. 

As I have been approached by many resident managers with a suggestion that I should revive the piece next spring, and as I do not wish the question to arise in the future as to an infringement of any other rights. I should be greatly obliged if you would find space in your valuable paper for this letter.

Yours faithfully,

George A. De Gray."

Having searched Chambers Journal for the entire 1870s, I still cannot find any "Austrian Legends," the search continues..........