The Hydro Majestic Hotel stands on the upper slopes of the Megalong Valley in the Blue Mountains, about 116 kilometres west of the Sydney CBD. Last December it re-opened for business six years after it’s resale and interim closure in 2008. The new owners, the Escarpment Group (a consortium of Sydney developers headed by Huong Nguyen and George Saad), have an ambitious vision for the Medlow Bath hotel, including an extension to its facilities and services, and a major renovation of the once great Blue Mountains landmark to restore some of its past glory. About four years passed before construction work even commenced on the site. Initially the new owners had to undertake a big clean-up job of the vacated property as a very large amount of assorted clutter was left behind by the previous occupants [‘Saving a grand old beauty’s soul’, Peter Munro, Traveller, 7 January 2013, www.traveller.com.au].
The Hydro Majestic through the agency of a renovation that cost $30 million has been transformed—from its erstwhile state of dishevelment and disrepair—to again rise seemingly phoenix-like in 2015. The new exterior makeover resulted in the complex’s buildings being painted uniformly white, clearly the developers are hoping that the anticipated returns will repay the investment (all up a reported $40.5 million including the purchase price) so that the venture doesn’t end up a ‘white elephant in all senses!’
Mark Foy’s Liverpool St store ˚
The Majestic’s current incarnation however is only the latest of many manifestations and reinventions that the hotel has undergone over its long, colourful history. The Hydro Majestic’s genesis lies in the overseas travel experiences of retail baron Mark Foy around the turn of the twentieth century. Foy was co-owner with his brother Francis of the large Sydney department store, Mark Foy’s (named after his father Mark Foy Sr) in Oxford Street, Sydney, later relocated to Liverpool Street in a famous piazza building. The young entrepreneur’s experience of health spas on the Continent gave him the idea for starting a hydropathic therapy operation in Australia. In 1902 Foy purchased several large blocks of land in the Blue Mountains to re-create a similar spa resort to the highly-popular sanatoriums he had visited in Europe. The site chosen at Medlow Bath was supposedly located on natural mineral springs that incorporated the earlier Belgravia Hotel [John Low, ‘Palace in a Wilderness: Hydro Majestic Medlow Bath’, www.bmcc.nsw.gov.au].
Foy’s Blue Mountains ur-health resort
Upon completion in 1904 Foy opened his Medlow Bath hydropathic sanatorium (the first health resort in NSW) which he named the Hydro-Majestic. By this time whatever springs were present (if they ever existed) had dried up. Consequently Foy imported large quantities of mineral water from Germany for use in his establishment [www.hydromajestic.com.au (Wikipedia entry)]. He also introduced a German-manufactured generator to supply the Hotel and the surrounding township with electricity (purportedly four days before the city of Sydney achieved electricity!) [www.hydromajestic.com.au, ibid.].
A series of spa pools connected by springs to the hotel generator were constructed in the nearby bush for the use of guests. Foy advertised that the Hydro would provide cures for nervous, alimentary, respiratory and circulatory ailments. Foy from the establishment’s start was also intent on trying to broaden the Hydro’s appeal, advertising it as “the most enjoyable place to spend one’s holidays” [Elaine Kaldy, ‘Medlow 1883 and Now’ (1983), cited in ‘Mb002 : Hydro Majestic’, NSW Office of Environment and Heritage, www.environment.nsw.gov.au]. To coordinate the therapeutic programs Foy brought out a Dr Bauer from Switzerland to introduce guests to his “diets of weird and wonderful treatments” [www.hydromajestic.com.au].
Playboy business tycoon
Mark Foy, to all accounts, was not particularly hands-on in his business pursuits, leaving it to a host of managers and agents. The Hydro for instance was apparently leased to influential hotelier and parliamentarian James Joynton Smith in 1913 [‘K032 : Carrington Hotel’, NSW Office of Environment and Heritage, www.environment.nsw.gov.au]. Foy’s conspicuous affluence and delegation of tasks to others allowed him the leisure to pursue outdoor activities. The business baron also had a reputation of being something of a playboy-about-town in the ‘Great Gatsby’ mould, legendary for throwing lavish parties for his friends at the Hydro and at his other homes at Bellevue Hill and Bayview.
Mark Foy Jr ˚
The Hydro Majestic owner was a keen sportsman, yachtsman and motor-car enthusiast. He was such a car enthusiast that he would periodically have sales of bulk numbers of his vehicles on site at his Bellevue Hill property [“MARK FOY’S MOTORS” (Advertisement), Sydney Morning Herald, 3 September 1910 – an adroit coupling of business with pleasure on his part; cited in Pittwater Online News, Issue 102 (17-23 March 2013), http://www.pittwateronlinenews.com/mark-foy-history.php]. Foy used his fleet of cars to ferry guests on trips from Medlow Bath to nearby Jenolan Caves. He also kept horses on the grounds for guests to explore Megalong Valley by horseback [Office of Heritage and Environment (Hydro Majestic), www.environment.nsw.gov.au].
Majestic skyline ˚
Network of bush walks and sustainable agriculture
Foy had a series of bush walk tracks built on the cliffs below the Hydro Majestic. The walking tracks provided spa guests with a physical outlet that would complement Dr Bauer’s therapeutic programs. Guests were encouraged to exercise in the fresh mountain air as part of their recovery. These tracks with local physical features with names like Tucker’s Lookout, Sentinel Pass and the Colosseum offer breath-taking cliff views of the Megalong Valley, and are still explored by bush walkers today.As well as the hotel site itself Mark Foy purchased a considerable amount of land in the Megalong Valley to grow food for the Majestic hotel dinner tables. Foy built a large rural holding at Megalong which he called the Valley Farm, on it was a racecourse, stables, diary farm and a piggery. The farm grew corn, turnips and oats [‘Mark Foy – Retail Tycoon and Megalong Valley Farm’, www.megalongcc.com.au]. The produce grown in the valley was transported up to the resort by a flying fox Foy had rigged up.
The business tycoon also maintained personal properties on the Medlow Bath complex, including a cottage in the Valley known as the Sheleagh Cottage. This property with its great views of the valley, now called “Mark Foy House”, is today listed as a mountains getaway available for rental. It is unclear how much time the constantly on-the-go Foy spent at Sheleagh, or for that matter at any of his Sydney properties, as the newspapers of that day regularly reported him as embarking with his family on yet another world or European tour [cited in Pittwater Online News, op.cit.]. I can easily imagine Foy’s name cropping up constantly in the Vice-Regal column that used to appear in the Sydney Morning Herald.
‘The Lost World’ ˚
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Resort’s luminaries
At the height of its popularity, in the twenties, the Hydro-Majesty was THE fashionable venue to visit, “the place to be seen” by the denizens who grace Sydney’s social pages. Over the years it has had more than its fair share of VIP guests, such as Sherlock Holmes creator Sir Arthur Conan Doyle whose novel The Lost World was inspired by the vast wilderness environment that the Hydro was set in. Other guests include Indian rajahs, Australia’s first Olympic swimming gold medal winner Freddie Lane, and the Commonwealth’s inaugural Prime Minister Edmund Barton, who died whilst staying at the resort in 1920. Boxer Tommy Burns set up a training camp at the hotel where he prepared to fight Jack Johnson for the World Heavyweight Championship in the most famous bout in Australia boxing history at Sydney Stadium in 1908. The entertainment and amusements provided by Mr Foy at the Hydro Majestic took various forms. In its heyday when it was a luxury tourist resort, balls and concerts were regular events. Singers such as the soprano queens Dames Nellie Melba and Clara Butt were hired to perform at these concerts. A curious feature was the cross-dressing costume parties of well-to-do guests in which the husband and wife swapped clothing with each other for the event [‘Saving a grand old beauty’s soul’, op.cit.].
An architectural mixed bag
Taken at its broad scope the Hydro-Majestic is an impressive if a bit discordant sight, a long line of arranged buildings, albeit positioned in a somewhat higgledy-piggledy fashion stretching for some 1.1 kilometres across the Megalong escarpment. The Hotel’s architecture is hybrid in character, with buildings being added in an ad hoc fashion over time and in a novel mixture of styles: Victorian, Edwardian, Belle Époque and a blend of Art Deco and Art Nouveau interior design.
The Hydro – in its down-market days ˚
The Majestic’s most distinctive external feature is the Casino building with its imposing Chicago-manufactured dome (this ‘casino’ has been used as an entertainment hall or pavilion rather than as a gaming house). The changing fortunes of the Hydro Majestic as a whole over the decades was symbolised in the fate of the Casino itself: going from the scene for grand balls and concerts in the 1920s and 1930s to a repository for (how the mighty have fallen!) pinball machine entertainment in the 1980s!
A Zimmerman ˚
Resident artist with obsessive-compulsive tendencies
One of the most intriguing interior features of the Hydro Majestic is the so-called Cat’s Alley, a long corridor whose windows back in the day were draped with peacock feathers. Scone-and-cream afternoon tea visitors to the hotel would stroll down the corridor strewn with puff-pillowed lounge chairs and a set of bizarre panelled scenes, hunting scenes from different historical periods, the work of a Swiss artist called Arnold Zimmerman. Panel after panel comprised Prehistoric cavemen hunting wooly mammoths, Assyrian warriors slaughtering lions, British Raj mounted horsemen hunting tigers in India, Roman soldiers killing elephants, and so on and so on. The first time I ever visited the Hydro I marvelled somewhat bemused at Zimmerman’s paintings, finding them slightly disturbing in their obsession with the monumental struggle between man and beast, terrible but also engaging in a visceral way. Visitor access was blocked to the Alley for some years but it is pleasing to note that it is opened again after the refurbishment with additional seating.
The immediacy of a vast wilderness of National Park bushland has regularly posed a danger to the Hydro Majestic. In 1905 fire destroyed the Gallery building and in 1922 did the same to the original Belgravia wing. There have been several other close calls, the latest in 2002 when Medlow Bath’s “Gothic tourist pile”, as one article described it, narrowly avoided a spot fire blaze [Margaret Simons, ‘Majestic tourist icon survives ordeal by fire’, Sydney Morning Herald, 9 December 2002].
The Hydro-Majestic over the course of its century-plus existence has undergone a number of transformations. What started off as a hydropathic spa pretty soon morphed into a luxury tourist retreat after 1909 (“Mr Foy’s Private Lodge”), only to revert more modestly to a family hotel for ordinary guests and day-trippers. In WWII the Hydro was converted into the 118th US General Hospital to care for convalescing American soldiers, some of which showed their “gratitude” by inflicting damage on the hotel’s decor during their stay. After the War the Hydro reverted to a hotel and guesthouse. By the 1980s the buildings had declined alarmingly despite receiving a heritage preservation order in 1984, business had dropped off and the very visible signs of wear and age eventually necessitated a revamping in the 1990s and again in the last few years.
In keeping with the hybrid nature of the hotel, parts of the new Hydro Majestic exude a distinctly oriental flavour. The Salon Du Thé features a Shanghai chic tea room and bar and both it and the Cat’s Alley reprise many of the oriental traits of the original 1900s Medlow hotel which featured a Chinoiserie style favoured by Mark Foy. The Majestic’s original Salon Du Thé displayed ornaments and furnishings which included large Chinese vases and porcelain vessels, bamboo-look furniture and silk umbrellas [www.hydromajestic.com.au].
Footnote: Regaining its past glory? Will the refurbished Hydro Majestic rise again to the exalted heights it attained in the inter-war period? Will patrons flock to it again as they once did? Will it be able to attract the higher socio-economic clientele associated with a luxury resort? It is far too early to tell, but it should be noted that there is a lot more choice now in Sydney with high-class hotels and resorts. Nonetheless, the Hydro’s traditional high tea is back, the complex has more restaurant options than ever before, though the guest rooms are still on the small side! What also hasn’t changed to its advantage are the magnificent panoramic views of the Megalong Valley, they remain one of the Hotel’s strongest magnetic attractions.
Above: Flagship of the Mark Foy’s retail empire. The city department store opened in 1885, moving to the Liverpool Street site in 1909 where an ice skating rink was installed on the 5th floor in 1950 for “Fashion Fantasy on Ice” parades. In 1980, having been earlier acquired by Waltons it ceased trading permanently. Today the monolithic heritage building renamed the Downing Centre functions as a state courthouse.
Another factor in the Argonauts Show passing pretty much right under the radar for me was that it was a late afternoon children’s radio program (we spelt it ‘programme’ in those more formal, longhand days) and post-school afternoon and nights during my youth were incontestably reserved for television, then still a relatively novel phenomena. When it came to the wireless I was an avid morning listener to commercial networks like 2UE and 2UW. Gary O’Callaghan and “Sammy Sparrow” was more my style in the sixties. I can’t be sure if there had been a Sammy Sparrow radio club but as I’ve still got a Sammy Sparrow badge kicking round the house somewhere which probably confirms it.
Inevitably, the popularity of the Argonauts program waned. In the late sixties the segment was cut to just one hour a week at 5pm on Sunday. In 1972 ABC Radio pulled the plug entirely on the show, apparently because a survey found that most of those still listening were over the age of 40! The inexorable encroachment of television into the lives of children also would have been a massively-significant factor in its ultimate demise [Urania, 
George Wallace (above) had an early taste of the stage appearing in children’s pantomime at age three, but it wasn’t until after WWI that his career really took off when he teamed up with fellow vaudevillian Jack Paterson to form a knockabout comedy act called “Dinks and Onkus”. The duo performed their “couple of drunks” routine to packed audiences at the Newtown Bridge Theatre for five years before Wallace outgrew the partnership and joined up with bigger enterprises, first that of Fuller’s Circuit and then the Tivoli Theatre Circuit.
George was smallish in stature and quite chubby in build but despite this, on stage he was exceptionally acrobatic and agile on his feet. As part of his very physical act he became acutely adept at landing on his left ear during a deliberate fall. Wallace wrote witty songs and review sketches to perform in theatre, sometimes he told absurd stories about characters such as Stanley the Bull, the Drongo from the Congo and Sophie the Sort [Stuart Sayers, ‘Wallace, George Stevenson (1895–1960)’, Australian Dictionary of Biography, National Centre of Biography, Australian National University, 
Wallace’s “working class zero” popularity attracted the attention of local film-makers and in the thirties he appeared in a number of films such as Gone to the Dogs, A Ticket for Tatts, mostly for Ken G Hall, Australia’s foremost (Cinesound) director in the interwar period. In his movies (some of which he co-wrote) Wallace reprised his theatre role as a bumbling, disaster-prone innocent. In his performances on the big screen Wallace demonstrated that he was able to make the transition from stage to cinema. After WWII however, finances dried up and the Australian film industry went into steep decline. Wallace returned to theatre including a return to pantomime and to the new medium of radio performance. In 1949 he began a weekly radio show with the Macquarie Network in Sydney. The one setback to Wallace’s career was his unsuccessful attempt in the early fifties to make it in the English theatre as a comedian, but this could be attributed partially to the English audiences’ unfamiliarity with his Australian accent [ibid.].
Rene had a very distinctive on-stage appearance, striking black-and-white face paint which gave a nod to the influence of minstrelsy, baggy pants and a battered black top hat. In performance he exuded an extroverted and even exhibitionist style – he was the quintessential lair (the self-promoting “show-off”). Often he would robustly insult the audience with a spray of obscenities, both verbal and gestural. In today’s milieu of political correctness Rene’s act would in all likelihood be characterised as sexist and even racist (in its presentation of a Jewish caricature) and it did alienate some viewers in the day. This did not stop Fuller’s from billing him (pre-war) as “Australia’s foremost delineator of Hebrew eccentricities” [Frank Van Straten, ‘Roy Rene 1892-1954’, Live Performance Australia – Hall of Fame (2007), 
After WWII, with variety theatre in recession, Rene made a successful transition to radio. He was able to do this having learned from the lessons of his failed venture into films, because he made sure that his radio shows were presented before a live audience to ensure that his performances had that necessary edge. At Sydney radio station 2GB he found a niche as the bombastic “Professor Mo McCackie” of “McCackie Manor” finding a whole new audience for his unique sense of humour.
