name = Royalty Theatre
caption = Programme cover for "
La Périchole" and " Trial by Jury" (1875)
Dean Street, Soho
city = Westminster,
designation = "Demolished"
latitude = 51.513917
longitude = -0.13279
owner = Frances Maria Kelly
capacity = 657 seats (1906)
type = Theatre and opera
May 25 1840
rebuilt = 1883
November 25 1938
othernames = 1840 Miss Kelly's Theatre and Dramatic School
1850 (Royal) Soho Theatre
1850 New English Opera House
1861 New Royalty Theatre
currentuse = Site occupied by office block
website = The Royalty Theatre was a small
Londontheatre situated at 73 Dean Street, Sohoand opened on May 25 1840as Miss Kelly's Theatre and Dramatic School and finally closed to the public in 1938. [http://www.arthurlloyd.co.uk/Royalty.htm Royalty Theatre] at the Arthur Lloyd site accessed March 23 2007] The architect was Samuel Beazley, a resident in Soho Square, who also designed St James's Theatre, among others. [http://www.british-history.ac.uk/report.asp?compid=41093 "The Pitt Estate in Dean Street: The Royalty Theatre"] , Survey of London: volumes 33 and 34: St Anne Soho (1966), pp. 215-21 accessed: 23 March 2007] An earlier theatre also named the Royalty existed in Wells Street, Wellclose Square, London from 1787 until the early part of the nineteenth century.
The theatre originated with an attempt by the actress, Frances Maria Kelly (1790-1882), to establish a dramatic academy, and thereafter it had a long tradition of actress-management. 'The theatre was small, obscurely sited, perilously combustible and rarely prosperous for long, partly by reason of its consequent use for occasional or independent ventures, but it housed some productions of note'. However, there was a relatively spacious stage, and Beazley's work in the auditorium was thought pretty. "
The Times" described the theatre as 'most elegantly fitted up and appointed, and painted in a light tasteful manner.’ The theatre was designed as a bijou for a fashionable audience, and a box was taken by Queen Adelaide.
On the opening night, three pieces were presented, "Summer and Winter", by Morris Barnett; a melodrama, "The Sergeant's Wife"; and a farce, "The Midnight Hour". The opening was unsuccessful, and within a week the theatre was closed. A contributory factor was probably the high admission charges of five or seven shillings. Kelly reopened the theatre, at reduced prices, on
February 22 1841, for a short season of her own monologues, but in the following year illness ended her active use of the theatre.
'. Performances were mostly by amateurs, hiring the theatre at standard rates. At other times ,the theatre, as 'Theatre Français', attracted patrons chiefly among the foreigners in Soho.
In 1861, the direction of the theatre was assumed by Albina di Rhona, 'the young Servian artist', a dancer and comic actress. She renamed it the New Royalty Theatre, and had it altered and redecorated by 'M. Bulot, of Paris, Decorator in Ordinary to his Imperial Majesty, Louis Napoleon', with 'cut-glass lustres, painted panels, blue satin draperies and gold mouldings'. Despite a varied opening programme, in which Miss di Rhona danced, the leader of the Boston Brass Band from America executed a bugle solo, and a performance was given by a fourteen year old actress named
Ellen Terry(later the leading Shakespearean actress of her time), the re-opening was not successful.
The theatre was managed by
Henrietta Hodsonduring the early 1870s She produced mostly burlesques and comedies, including W. S. Gilbert's " The Realm of Joy" and "Ought We to Visit her?" In 1872, it became known as the Royalty Theatre and retained this name (although it was occasionally known as the New Royalty Theatre). On March 25 1875the theatre, under the direction of Madame Selina Dolaro, enjoyed an historic success with " Trial by Jury", the first Gilbert and Sullivanopera to be staged by Richard D'Oyly Carte. It premiered together with Jacques Offenbach's " La Périchole" and another one-act farce, " Cryptoconchoidsyphonostomata". The favourable reception of "Trial" led Carte to create his own company elsewhere, so it brought no continuing prosperity to the Royalty.
The Santley years
In 1877 began the association of the theatre, lasting some thirty years, with
Kate Santley, who later seems to have acquired the head lease. Producer Richard D'Oyly Cartejoined forces with Santley in January 1877 to present "Lischen and Fritzen", Jacques Offenbach’s "Orpheus in the Underworld", and "Happy Hampstead" by Carte (under the pseudonym Mark Lynne) and his secretary, Frank Desprez. In that year the First Chief Officer of the London Fire Brigadestrongly recommended to the Metropolitan Board of Works the immediate closure of the theatre. Santley, however, had it reconstructed to designs of architect Thomas Verity, whose plans, providing improved means of egress were approved in 1882. Verity had also designed the Comedy and the Criterion theatres and the Pavilion at Lord’s.
Many of the productions in these years were opera-bouffes adapted from the French. M. L. Mayer, formerly of the Gaiety Theatre, staged twice-yearly seasons of plays in French. The Coquelins and other luminaries of the
Comédie Françaiseappeared here in the 1880s, when the Royalty was 'the recognized home of the Parisian drama.' A threat of closure for safety reasons was averted by a further reconstruction of the theatre in 1883 to provide additional exits. This was designed by Thomas Verity, and Santley was praised for the theatre's renovations.. The opening of Shaftesbury Avenueand of new theatres in that neighbourhood, including the Lyric Theatre and the Apollo Theatre, drew audiences away from the little Royalty Theatre in Dean Street, and in the 1890s the Royalty was not prospering. When the theatre finally had a great success, with Brandon Thomas’s play, " Charley's Aunt", its popularity led to its transference after only a month to the larger Globe Theatre. Ibsen's "Ghosts" premièred, to predictable outrage, at the theatre, in a single private London performance on 13 March 1891. The Lord Chamberlain's Officecensorship was avoided by the formation of a subscription-only Theatre Society, which included Thomas Hardyand Henry Jamesamong its members. [ [https://www.cityoflondon.gov.uk/Corporation/lma_learning/theatreland/timelines19.asp#1869 "Theatreland Timeline" (London Metropolitan Archives)] accessed 11 Oct 2007]
In 1895-96 the Royalty's manager was
Arthur Bourchier, and the theatre underwent another renovation, by architect Walter Emden. He produced, among other plays, "The Chili Widow", an adaptation of his own that ran for over 300 nights. In 1899, the first production of the Incorporated Stage Society took place with the first performance of George Bernard Shaw's "You Never Can Tell". In 1900-01 Mrs. Patrick Campbellhired the theatre and staged a succession of contemporary plays in which she starred, and in 1903-04 Hans Andresen and Max Behrend presented a successful season of German theatre. Also in 1904, the newly founded Irish National Theatre Society gave plays by W. B. Yeatsand, in 1905, it presented an early performance of Synge's first play, "The Shadow of the Glen". In addition, Philip Carr's Mermaid Society produced Elizabethan and Jacobean plays.
After further rebuilding work and redecoration in French Regency style, which increased the capacity of the theatre to 657 seats, the Royalty reopened on
January 4 1906with a season of Theatre Français directed by Gaston Mayer. In 1911, J. E. Vedrenneand Dennis Eadieacquired the theatre, and in 1912, they staged "Milestones", by Arnold Bennettand Edward Knoblauch (later Knoblock), which had over 600 performances. "The Man Who Stayed Home" was also a hit in 1914, playing for 584 performances. Henry Daniellstarred as Bobby Gilmour in "The Man from Toronto" at the theatre in May 1918.
A post-war success was the concert-party entertainment, "The Co-Optimists", first staged in 1921. The year 1924 saw the first West End production at the theatre of
Noel Coward's "The Vortex." Ibsen's "Pillars of Society" played in 1926. The last big success for the Royalty was in 1932 with "While Parents Sleep". By 1936 the danger of fire from celluloid stores and other adjacent properties was thought to override the consideration, strongly pressed on the Lord Chamberlainby the licensee, that the theatre had been on the site before the development of inflammatory trades nearby. The last performance was given at a matinee on November 25 1938, by the Southern Cross Players.
Although several schemes were considered for its rebuilding, the theatre soon became derelict and was damaged in the
World War IIBlitz. The Royalty was demolished in 1953 and a block of offices, Royalty House, was erected on the site.
A modern Royalty Theatre was opened in the basement of an office block at Portugal Street near
Aldwychin 1960. This was bought by the London School of Economics and renamed the Peacock Theatrein 1996. It is a lecture hall by day and a venue for the Sadler's Wells Theatrecompany by night.
* "Who's Who in the Theatre", edited by John Parker, tenth edition, revised, (1947) London, pp. 477-478.
*Sheppard, F H W (ed): Survey of London, Vol XXXIII, Athlone Press,
University of London, for the Greater London Council(1966) London.
* "The Lost Theatres of London" by Raymond Mander & Joe Mitchenson (1968) London: Rupert Hart-Davis ISBN 0450028380
* [http://www.british-history.ac.uk/report.asp?compid=45146 "Soho Square and its neighbourhood", Old and New London: Volume 3 (1878), pp. 184-96]
* [http://www.arthurlloyd.co.uk/Royalty.htm History of the Royalty Theatre] at arthurlloyd.co.uk
* [http://www.british-history.ac.uk/report.asp?compid=41093 Information about Santley's management of the Royalty Theatre]
* [http://library.kent.ac.uk/library/special/icons/playbills/londonroyalty.htm Playbills (text)] at the
University of Kentspecial collections.
Wikimedia Foundation. 2010.
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