AustLit

The Theatre introduced itself simply as a 'Monthly Theatrical Review'. Published in both Sydney and Melbourne, it was 'devoted to the advancement of Theatrical Interests'. Initially, it covered drama, popular and amateur theatre, music, and amusements, as well as authors, playwrights, managers, and stars, with many represented in black-and-white or one-tint photographs, caricatures, and cartoons. It argued strongly for state subsidy of local art and drama, and published stage gossip and sometimes barbed critique. From its fifth issue, it incorporated the earlier stage magazine, The Player.

At the end of 1905, a new editor promised stability and wider coverage, from 'all the other States and Colonies, and in England and America'. It became the key source of information and commentary on developments in both the theatrical and moving picture worlds. Each January issue contained a Resume of the Year. The activities of T.J. West and J.C. Williamson, their pictures and plays and stars, occupied much space well into the 'teens, but lesser players also received due regard: George Rignold, Annette Kellerman, C. Spencer, Apache dancers, Tittell Brune, Snowy Baker, Pathe Pictures, Hugh D. Mcintosh, Beaumont Smith, roller skating, vaudeville, and chorus girls.

In October 1912, the magazine converted into a limited company, but continued with limited change as The Theatre Magazine.

The new magazine continued with the same publisher and editor as the earlier Theatre Magazine. It explained its changes in terms of longevity and the need to remain abreast of the times. 'We are the oldest theatrical publication in Australia (we shall shortly enter our twenty-fifth year) and in these days of competition we do not want the old-timers to accuse us of inferiority beside the younger and more modern publications.' Its format changed slightly, dividing its contents into Special articles, Special features (mostly local, interstate and international gossip and notes), Reviews, Society and home (including recipes), Pictorial features (of shows and films), and Sundries. It provided those readers wanting to emulate stage and screen stars with hints on fashion and home decoration. It also appealed directly to those working in the theatrical and musical professions, with hints from behind the scenes and pars about parties and movements. Advertorials began to appear.

After a year and a half, it published its swan song, promising 'an immediate and brilliant resurrection in the bright, beautifully printed and illustrated pages of Just It', a new weekly. At this point, it claimed a life-span of twenty-two years, and rightly proposed that 'When the time comes for the historian to sit down and write a history of the Australian stage, he will find his path made easy from 1905 to date, by reason of the files of Theatre, Society and Home'.