MR H. R. HARWOOD.

New Zealand Mail, Issue 771, 10 December 1886, Page 9

MR H. R. HARWOOD.

Mr Harwood being about to return to Melbourne to play a short engagement in the Bijou Theatre, previous to taking the business management of the Opera House under Messrs Brough and Boucicault, we deem it a befitting time to give a short sketch of this worthy and prominent actor. Mr Harwood was born in London in 1830, and was brought up to his father’s business, that of a builder and contractor. Thoroughly mastering its details, in 1852 he decided to strike out for himself, and seek his fortune in that golden Continent, Australia. While assiduously following his calling, the genius in the man would-unconsciously assert itself, and but waited an opportunity for develop, ment. The opportunity presented itself in 1855, when, on a visit to Sydney, he made his first appearance on the stage at the Victoria Theatre, in the character of Flaville Corruna in the play of ‘ Brutus.’ This was during G. V. Brooke's first engagement there. After playing a round of utility parts, Mr Harwood returned to Victoria, and appeared at Ballarat —which at this time, was supporting three theatres. — in eccentric comedy parts, snch as Blueskin in ‘ Jack Sheppard;’ etc. Shortly after, to illustrate his versatility, he went into the equestrian line, and became leading man for Mr G, B. W. Lewis. During the circus season at Geelong he played Mazeppa, Dick Turpin, Timor the Tartar, etc., but the allurements of the dramatic stage proving too strong to be resisted, he returned to his first love, abandoning sawdust for the boards, and played Leonato to G. V. Brooke’s Benedict in ‘ Much Ado About Nothing.’ Such success attended this engagement that Mr Brooke engaged him for Melbourne, where he first appeared at the Theatre Royal as Ye Antient Pistol, in ‘The Merry Wives of Windsor.’ From this date onward Mr Harwood has performed with unvarying success leading characters in every line of theatrical business. His Macduff and Richmond are unanimously and justly set down as great impersonations. Mo Davis, in ‘ The Flying Scud,’made the ejaculation * Jumping Moses,’ a by-word throughout Australia. His Cassandra ‘Siege of Troy;’ Sir Oliver Surface * School for Scandal;’ Brabantio —* Othello,’ are well remembered ; while his Mike Feeney —‘ Arrah na Pogue,’ played during Barry Sullivan’s engagement, was counted one of his most remarkable characters.

In 1867, Mr Harwood became associated with Messrs Lambert, Vincent, Bellair, Stewart and Hennings, as managers of the Theatre Royal, aptly termed the Drury Lane of Australia. He has since as business manager, been actively engaged, and has twice visited England in search of stars. In 1877 he retired from the Theatre Royal management, and removed to Sydney, where he became proprietor of the Oxford Hotel, which he again relinquished to again reenter theatrical life. He visited India, and from there went to London, returning to Australia with the famous Tambour Major Opera Co., in which he made a colossal success of the part of the Duke Dela Volta. More recently, his Cattermole, in * The Private' Secretary,’ has been an immense hit. The physical strain on a person undergoing such manifest changes of climate, water, and food, and the wear and tear of the nervous energies, is somewhat enormous. It does not surprise us. however, to learn, as we do, from Townsville, Queensland, where Mr Harwood, at the present writing, now is, that after being under different doctors’ treatment for some considerable time for aggravated kidney trouble, with comparatively little benefit, he owes his rapid and remarkable restoration to vigorous health and strength to Warner’s safe cure. This preparation is justly recognised by the profession as the best and safest remedy known for Bright’s disease, and all forms of kidney and liver difficulty, indigestion, etc., from which so many suffer, and its large sale among the profession is something phenomenal. The average theatrical man has seen too mach of the world to be humbugged, but when he knows and feels that an article is all that is claimed for it, he is the first one to give it a generous meed of praise. Mr Harwood shortly returns to Melbourne, where after a short engagement at the Bijou Theatre, he will assume the business management of the Opera House, a similar position to that he occupied for Messrs Williamson, Garner and Musgrove. In conclusion, we may say that H. R. Harwood is a thorough gentleman, a true friend, a conscientious and painstaking actor. His word is as good as his bond, and he enjoys, in an eminent degree, the respect and confidence of his fellow-men. 53