Palace Theatre
Londres - Angleterre

Construction: 1891

Topologie du théâtre

Nombre de salles actives: 1
Salle 1: (1390)    1891 - Actif

Accès

En métro: Leicester Square (Piccadilly/ Northern lines)/ Tottenham Court Road (Northern/ Central lines)/ Leicester Square
En bus: 14, 19, 22, 24, 38, 40, 176
Adresse: 109-113 Shaftesbury Avenue, London, W1D 5AY

Evolution

Bâtiment: 1891. Designed primarily by Thomas Collcutt for Richard D’Oyly Carte; opened on 31 January as the Royal English Opera House / 1892. Sold to Sir Arthur Harris and renamed Palace Theatre of Varieties / 1908. Amphitheatre remodelled by F. Emblin-Walker / 1911. Renamed Palace Theatre / Statutorily Listed Historic Building: Grade II*
Nom:

Propriétaire(s)


Remarquable

Exterior of Elllstown brickwork and delicate buff terracotta / Interior as an all-embracing concept and use of materials, from Imported Algerian and Italian marbles to William Morris carpets / Archaeological remnants of Iron-and-wood stage machinery designed and installed by Walter Dando
1390 
1891 - Actif

Annonce du cast principal de "Harry Potter and the Cursed Child" au Palace Theatre

 Londres (Angleterre)
 Palace Theatre  
 ** Hors DB Theatre  
 Publié le 21 déc. 2015
Le cast principal de la création de Hary Potter and the Cursed Child, qui ouvrira au Palace Theatre à Londres le 30 juillet 2016 (previews àpd 6 juin 2016): Jamie Parker, Noma Dumezweni et Paul Thornley.

Critique de "Derren Brown: The Miracle "

 Londres (Angleterre)
 Palace Theatre  
 ** Hors DB Spectacle  
 Publié le 15 nov. 2015
Les critiques sont excellentes:   

La presse est "moyenne-bonne" pour The Commitments

 Londres (Angleterre)
 Palace Theatre  
 Commitments (The)  
 Publié le 09 oct. 2013
Lyn Gardner for The Guardian / Charles Spencer for Daily Telegraph / Quentin Letts for The Daily Mail /Paul Taylor for The Independent / Henry Hitchings for The Evening Standard   

We shall never be privy to the thoughts of the Duke of Cambridge when he opened Charing Cross Road to the public for the first time in February 1887, but as he surveyed the poor quality of the new architecture he must have wondered at the almost unprecedented opportunities lost both here and In Shaftesbury Avenue. Cambridge Circus, named after the duke, was an attempt to create a unified whole, but carried out with little sense of the dramatic and with minimal design impact, mainly in red brick and dressed stone. It is to the buildings of the 18th and early 19th centuries in surrounding streets, such as Romllly Street and Greek Street, that one has to look for a superior quality In scale and design.
While the blocks of offices, chambers and shops were filling the sites along the new roads, Richard D’Oyly Carte was discussing with the Metropolitan Board of Works the acquisition of the prime irregular quadrilateral Island site on the west side of Cambridge Circus. Negotiations reached a conclusion, and on 15 December 1888 his second wife, Helen, laid the foundation stone of his new opera house.
D'Oyly Carte was born locally, in Greek Street, on 3 May 1844. After studying at University College, London, he worked with his father as a maker of musical Instruments for the army, until setting up as a concert agent In 1870. Eminently successful, he 'discovered' Gilbert and Sullivan, probably through their production of Thespis in 1871, and in 1875 produced their Trial By Jury at the Royalty Theatre. Success followed upon success, and profits soared to such heights that D’Oyly Carte was able to finance the building of the Savoy Theatre in 1881. An opera-loving speculator, he resolved to build a London theatre devoted to grand English opera, and the vacant plot on Cambridge Circus appeared to be the ideal site.
Architect J. G. Buckle was commissioned to advise on the original design concept, and his adventurous steel-framed cantilevering of the royal tier stalls, the first circle and the amphitheatre provided an Inspired skeletal form around which to build. Unusually, D'Oyly Carte dispensed with a contractor and took upon himself the supervision of
building works alongside G. H. Holloway, whose buildings already included the Savoy Hotel and the Hotel Metropole. It was not until the ground works were well advanced that another architect, T. E. Collcutt, was engaged to give architectural substance to the interior and exterior of the building.
Thomas Collcutt was born in Oxford in 1840 and educated at Mill Hill School. He was articled in London, and lived most of his life at Totteridge, Middlesex, in the beautiful Arts and Crafts-style house he designed overlooking the green. A Gothiclst at heart, Collcutt was forced to adapt to fluctuating taste, thus developing a hybrid Tudor-Renaissance style and winning, in 1886, the competition for the Imperial Institute in South Kensington. Not a specialist In theatre design, Collcutt saw the D’Oyly Carte commission purely as a piece of architecture, much as he would a small country house, or commercial building: a project to be given the profound consideration of an academic mind.
The exterior of the building is designed in a northern French Renaissance manner, In red brick and terracotta. The bricks are a dark red from the Elllstown Brickworks, an offshoot of the Leicestershire coal-mining Industry, and the delicately figured buff terracotta work was provided by the Lambeth firm of Doulton and Co. The slightly cbncave front to the building echoes the curve of the Circus, articulated by octagonal corbelled domed corner towers and turrets. After a century of attack from a fume- and grime-laden atmosphere, the terracotta has required fairly extensive repair and replacement. Attempts to clean the building in the latter decades of the 20th century regrettably resulted In some surface erosion caused by overenthusiastic sandblasting.
Although the theatre opened as the Royal English Opera House on 31 January 1891, design changes continued to be made up to 1893. Notwithstanding these minor hiccups, the interior is sumptuous: Algerian and Italian marbles were used not only on the grand staircase, but also In vestibules, saloons and even the auditorium. Painted wall decoration in green and gold, arabesques and allegorical figures served only to emphasize the accomplishment of the design. The carpets were designed by William Morris.
The care that D’Oyly Carte devoted to the public parts of his Royal English Opera House extended behind the proscenium arch, where he introduced a revolutionary flat stage. In 1887 he also employed Walter Dando, a stage engineer of genius, whose fame sprang from his work in the Paris theatre. As well as installing chariot and pole machinery on a French model, designed to combine stability with efficient and smooth movement of set-piece and ground-row scenery, Dando was aware of other aspects including the practical use of the stage revolve. Having lain idle for years his substantial sub¬stage machinery has survived against the odds. On its island site the theatre is always in desperate need of space, and that space, at least prior to purchase by Andrew Lloyd Webber, seemed to be under the stage. Dando remained at the theatre until 1896, when the world of early cinema beckoned.
D’Oyly Carte opened with Sir Arthur Sullivan’s Ivanhoe (1891) followed by Messager’s The Basoche (1892). The fact that he was unable to stage an English opera as his second presentation depressed him, and after a season starring Sarah Bernhardt in a series of French dramas, he sold the building to Augustus Harris, who renamed it the Palace Theatre of Varieties In 1892. D’Oyly Carte’s died on 3 April 1901 at Hastings, Sussex.
Since then, many great names have passed through the stage door, including Marie Tempest in 1906; Maud Allen as Salome in 1908; and the inimitable Pavlova in 1911, followed by Nijinsky in 1914. In 1921 Harry Lauder appeared for eight weeks in a variety bill and in 1933 Fred Astaire starred in Gay Divorcee. As the decades passed, in 1959 short seasons included vehicles for Johnnie Ray and Connie Francis, and in 1961 The Sound of Music opened here, followed by Cabaret (1968), Oklahoma! (1980) and, on 4 December 1985, Les Misérables.
In the 1950s, Emile Littler, the theatre’s owner, imposed upon the interior a naive, gung-ho decorative scheme which would seriously detract from its considerable architectural quality for over four decades. Without doubt this situation would have remained static had Andrew Lloyd Webber not Initiated with financiers Bridgeoint Capital in 2004 a sweeping restoration project which resulted in one of the most beautiful transformation scenes achieved In any British theatre.
‘The world's greatest artistes have passed and
will pass through these doors'
INSCRIBED IN THE LINTEL ABOVE THE STAGE DOOR

1891. Designed primarily by Thomas Collcutt for Richard D’Oyly Carte; opened on 31 January as the Royal English Opera House / 1892. Sold to Sir Arthur Harris and renamed Palace Theatre of Varieties / 1908. Amphitheatre remodelled by F. Emblin-Walker / 1911. Renamed Palace Theatre / Statutorily Listed Historic Building: Grade II*

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Infos complémentaires:

The stalls are divided into two blocks by a central aisle running the length of the section. Unlike the higher tiers the Stalls are not