‘He is not calculated to be very useful here’ was a theatre critic’s verdict on Andrew Torning one month after Torning’s arrival in Sydney. Nearly 60 years later, a review of his life would recall him as a more than useful addition, and this usefulness extended to numerous areas in the development and growth of the colony of New South Wales. Andrew Torning was born in London, England, 26 September 1814, the son of Andrew Torning (1784-1815), Master Mariner, and Ann Dayton. It has been suggested that Andrew’s father was Danish, as the name ‘Torning’ is present in Scandinavia, however, there is no evidence to support this suggestion.[1] His father was the Master of the vessel Hamilton and he drowned on 9 September 1815 when his ship was lost in a gale while sailing between Jamaica and London.[2]

Andrew, who was a painter of both houses and theatrical backdrops, married Eliza Crew at St. Leonard’s church, Shoreditch, England, on 9 July 1832. They had two children, Thomas Andrew (1834-1868) and Eliza (1836-1862), and by 1841 were living in Provost Street, Hoxton, New Town. 

On 18 May 1842, Andrew and Eliza were onboard the barque Trial as it left Plymouth bound for Sydney via Rio de Janeiro and they arrived in Sydney on 21 October 1842.  This concluded a long and slow journey in which the trip to Rio de Janeiro had taken 15 or so weeks when it normally took seven.[3] What was the inducement for Andrew and Eliza, with their two young children then aged eight and six, to leave England and come to Australia? The answer is ‘the theatre’.

Colonial Theatrics

Joseph Wyatt was the owner of the Royal Victoria Theatre in Sydney and he had decided he needed some fresh performers for his theatre. In order to obtain them, he boarded the Royal George and left Sydney on 21 March 1841 bound for London.[4]The Sydney public was informed that

Mr Wyatt, is about proceeding to England, where that gentleman proposes to engage an efficient number for all the several branches of the department. For the professional part of Mr Wyatt’s embassy, we confidently rely on his judgment and liberality; and in his private relations …[5]

During 1841 and 1842, Andrew and Eliza were both performers at the Royal Albert Saloon, Shepherdess Walk, City-road, London. This was a minor theatre and was part of Henry Bradley’s Royal Standard Tavern and Pleasure Gardens. It featured concerts, vaudevilles, melodramas, animal acts, fireworks, ballooning, and weekly dances, and the price of admission was usually not more than sixpence.[6] 

The couple had adopted the ‘stage name’ of Mr and Mrs Andrews, she as a dancer[7] and he, in the company of others, doing ‘Herculean Feats’.[8] Learning that they were leaving for Sydney, the Royal Albert Saloon Company gave a benefit in their honour.[9] The Company’s Saloon was a conveniently situated venue for the couple as they lived in Provost Street which was a short walk from the theatre. Andrew was a painter by profession and, as he later showed significant skill in painting theatre backdrops (or act drops),[10] this probably was his main source of income and it is doubtful that their theatrical efforts gave them much financial security. The opportunity to come to Sydney meant an increase in income as the average stipend for those who performed at the Albert Saloon was between 15 and 25 shillings whereas in Sydney they would earn from four to six pounds.[11] Sydney was also possibly an enhanced opportunity to be more engaged in the theatre.