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Les origines (1845-1895)

D'origine irlandaise, James, Hezlep Williamson excerce la profession de médecin de campagne dans l'état de Pennsylvanie et épouse, en,  la jeune Salina Campbell d'origine écossaise. Après ses premières études, sa famille s'installe à Milwaukee (Wisconsin) où il commence une carrièe d'acteur amateur et dès l'âge de dix ans ([1855]) il est engagé au Milwaukee Theatre. Par la suite, il entame une tournée d'un an au Canada où, en avril 1863, il est remarqué par la presse de Toronto :

Royal Lyceum
[...]
We understand that our young friend, J. C. Williamson, will have his benefit in the course of the coming week, and we bespeak for him an overflowing house. His position, both on and off the stage, is such as to commend him to the liberal encouragement and support of the Toronto public. A bill of rare and varied entertainment, embracing the full strength of the Lyceum Company, and a host of talented volunteers, will be presented, and every effort will be made by the young beneficiary to render his benefit one of the most attractive of the season: Let him have a bumper.

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The Irish Canadian, Toronto, mercredi 8 avril 1863, p. 4.

Peu après, il intègre la célèbre compagnie de Lester Wallack's sur la scène du Wallack's Theatre (New York) où il va passer cinq saisons (1863-1868). L'un de ses grands succès est son interprétation de Dick Swiveller dans l'oeuvre de Dickens, Old Curiosity Shop. Après avoir été engagé par l'Old Broadway Theatre, il accepte une offre, en 1871, que lui fait la compagnie de John M'Cullough à San Francisco. Il réside pendant trois ans en Californie et épouse, en février 1873, la jeune Maggie Moore.

Timothy Noble, Maggie Moore, c. 1870
Source: State Library of Victoria, 49220556

Quelques mois plus tard le couple signe un contrat pour une tournée en Australie. En 1874, ils ouvrent une saison au Theatre Royal (Melbourne) avec l'oeuvre Struck Oil. Par la suite, ils vont bâtir une partie de leur carrière dans ce pays. En 1880, J. C. Williamson fonde sa Royal Comic Opera Company. 

J.C. Williamson (Sir Jos. Porter)	Maggie Moore (Josephine)

Il se rend également, en 1882, en Nouvelle-Zélande. Il va ensuite s'associer à Arthur Garner et George Musgrove, créant ainsi une sorte de monopole qui ouvre, en décembre 1886, le Princess's Theatre à Melbourne et dirige de nombreuses salles dans le pays.

Les images animées (1894-1897)

Le kinetoscope (novembre 1894-février 1895)

En 1894, James Cassius Williamson part pour les États-Unis où il va acquérir un kinetoscope. Il passe ensuite par la Grande-Bretagne d'où il rejoint ensuite l'Australie. La presse locale va ainsi évoquer la prochaine installation d'un appareil de ce type à Sydney :

THE KINETOSCOPE.
Edison's latest marvel has arrived in Sydney, and will be on exhibition in a few days. It was decided by the combined companies owning the rights of the kinetoscope mat its introduction to the public should be practically simultaneous through out the world. Mr. J. C. Williamson, during his recent visit to America, secured the Australian rights of this remarkable invention, full particulars of which will very shortly be given to the public. Meanwhile it may be noted that American exchanges are devoting large and exhaustive articles to the exhibitions which are now taking place in America.

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The Australian Star, Sydney, samedi 24 novembre 1894, p. 6.

Les frères MacMahon vont être associés à l'installation et au fonctionnement de ce "kinetoscope parlor" :

THE KINETOSCOPE.
PHOTOGRAPHY IN MOTION.

EDISON'S LATEST TRIUMPH.

The kinetoscope, which the Messrs. M'Mahon have just introduced to Sydney, is another materialisation of Edison's genius. Entering the building in Pitt-street, half a dozen steps above King-street, you see five cabinet-shaped stands. Each is a separate kinetoscope. Glancing through the aperture fixed for the eyes, you have a view of one of the most striking and marvellous novelties that scientific invention has yet produced.

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The Daily Telegraph, Sydney, samedi 1^er décembre 1894, p. 9.

Le Biograph

The news soon trickled across the Tasman, and with characteristic promptitude Williamson secured a Biograph and toured it throughout Australia as the "Wonderful Williamson Biograph." When that finished ensued a period when "Pictures" were looked upon as dead.

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WESTMACOTT, 1929 (06/04): 17.

Of those who came, saw, and prospered, J. C. Williamson, founder of the mighty "business" which bears his name today, came first, and lasted longest. Theatre folk came to look upon J.C. W. as a veritable "god in the machine"- one who knew everything, and could do everything, as for instance the actor who rushed wildly into "Jimmy's" sanctum. "Oh, Mr. Williamson, I've found my wife sitting on Mr. T's knee. What shall I do?" "T'll make a note of it," gravely replied the great J.C. On another occasion the "Firm" was playing "Round the World in Eighty Days."
At half-past two in the morning a convivial party had gathered in the theatre office, when an attendant in charge of the animals featured in the show, rushed in and yelled "Please, sir, come at once: you're wanted. The elephants have broken loose and are walking down Caslereagh Street!"
Williamson was an American, as was his talented wife, Maggie Moore. Before coming to Australia the pair had co-starred in London in "Struck Oil," that famous play which will forever be associated with their names. Coppin, Hennings, and Stewart, proprietors of Melbourne Royal, held up their hands in holy horror when Williamson demanded £80 a week for himself, his wife, and his play.
Eventually they came to terms on a 50-50 basis, the management providing the theatre, properties, and publicity. I have always understood that Williamson took out something like £8000 from his Melbourne and Sydney seasons, and thus laid the foundation of his fortune in Australia. He joined forces with Arthur Garner and George Musgrove, but although the triumvirate had many successes Williamson, in his time, of course, had many ups and downs. In one year alone, in the '80's, the partners divided £45,000-a colossal sum in those days. To balance that, the year before Williamson brought in the last of his partners, George Tallis, and the late General Ramaclotti, his enterprises showed him only a line ball for that particular twelve months. The newcomers brought luck in their wake in the form of the original "Mother Goose" pantomime, which, in its first year netted the "Firm" a profit of £30,000. Williamson himself was a fine-looking man (in his early theatrical days he was known as "Handsome Jimmy") and an excellent actor; but management was his forte. He had the mind and vision of a born entrepreneur. To opposition he was absolutely relentless. I had some business dealings with him at one time. Needless to say, I got the worst end of the stick, and quite unreasonably cherished for some considerable time a prejudice against doing business with him again. This was unfortunate, for under its malign influence I later turned down an offer to join forces with him, which had it been accepted might have turned the tide of my then dwindling fortunes.
Williamson died a rich man. Of his original partners, Garner still lives, not too well endowed with this world's, in England, the stage forgetting-and by the stage forgot.

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WESTMACOTT, 1929 (13/04): 19.

https://trove.nla.gov.au/newspaper/article/113368153?searchTerm=J.%20C.%20Williamson%20died

James Cassius Williamson

Sources

DOWNES Peter, Shadows on the Stage. Theatre in New Zealand The first 70 years, Dunedin (New Zealand) John McIndoe Limited, 1975, 176 p.

WESTMACOTT C. B., "His Apologia", Smith's Weekly, Sydney, 1929.

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