Until 1991, when John Mansfield Thomson published The Oxford History of New Zealand Music, there had been a dearth of research regarding music and theatre in this country. His work demonstrated that New Zealand had a cultural background that was not the artistic wasteland that many asserted. Since then, various histories devoted to New Zealand’s musical and theatrical organisations have followed. This thesis looks at a case study of one theatre, His Majesty’s Theatre in Dunedin, New Zealand, and proves that there was a far more vibrant and sophisticated array of entertainment happening in the city than previously credited. Utilising primary sources such as newpaper articles and reviews, programmes and posters, this thesis documents the many international artists and companies that visited and brings to light an abundance of well-established artistic organisations within the local community. His Majesty’s Theatre hosted them all. Entertainments required a stage and accommodation for an audience, yet there has been little research regarding actual venues where these performances occurred. This thesis provides a detailed record of events over a period of three decades from the time it was built in 1897, until 1930 when it was superseded by the new, superior Town Hall.

The influence and significance of theatrical entrepreneurs James Cassius Williamson (1845-1913) and the Fuller family on His Majesty’s Theatre is also discussed. Williamson’s meticulous demand for high standards, both on stage and from the facilities of the venue itself is detailed, and the author’s research has uncovered the first copyright legal actions in New Zealand brought by Williamson. This detailed study of His Majesty’s Theatre over a period of three decades, from the turn of the twentieth century to 1930, will illustrate the importance of the theatre to the community, not just as a performance space but as a hub hosting activity vital to maintaining community ties and spirit. This thesis challenges any notion that arts and culture in Dunedin in the early twentieth century were quaint and unsophisticated, or were insignificant and minimal. Even during the First World War there was a huge amount of entertainment and artistic activity.  This study shows that audiences in the years that this thesis covers were far more informed and enjoyed a high class of live music and theatre, with greater frequency and with greater choice than we experience today.

Until 1991, when John Mansfield Thomson published The Oxford History of New Zealand Music, there had been a dearth of research regarding music and theatre in this country. His work demonstrated that New Zealand had a cultural background that was not the artistic wasteland that many asserted. Since then, various histories devoted to New Zealand’s musical and theatrical organisations have followed. This thesis looks at a case study of one theatre, His Majesty’s Theatre in Dunedin, New Zealand, and proves that there was a far more vibrant and sophisticated array of entertainment happening in the city than previously credited. Utilising primary sources such as newpaper articles and reviews, programmes and posters, this thesis documents the many international artists and companies that visited and brings to light an abundance of well-established artistic organisations within the local community. His Majesty’s Theatre hosted them all. Entertainments required a stage and accommodation for an audience, yet there has been little research regarding actual venues where these performances occurred. This thesis provides a detailed record of events over a period of three decades from the time it was built in 1897, until 1930 when it was superseded by the new, superior Town Hall.

The influence and significance of theatrical entrepreneurs James Cassius Williamson (1845-1913) and the Fuller family on His Majesty’s Theatre is also discussed. Williamson’s meticulous demand for high standards, both on stage and from the facilities of the venue itself is detailed, and the author’s research has uncovered the first copyright legal actions in New Zealand brought by Williamson. This detailed study of His Majesty’s Theatre over a period of three decades, from the turn of the twentieth century to 1930, will illustrate the importance of the theatre to the community, not just as a performance space but as a hub hosting activity vital to maintaining community ties and spirit. This thesis challenges any notion that arts and culture in Dunedin in the early twentieth century were quaint and unsophisticated, or were insignificant and minimal. Even during the First World War there was a huge amount of entertainment and artistic activity.  This study shows that audiences in the years that this thesis covers were far more informed and enjoyed a high class of live music and theatre, with greater frequency and with greater choice than we experience today.