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The Windmill Theatre, on Great Windmill Street, London originally opened as a small playhouse on the 15th of June 1931 with the Michael Barringer play 'Inquest!' The opening date is sometimes credited as being the 19th of June 1931 but that was in fact the date of the first matinee.

Right - A programme for 'Inquest!' the first production at the newly opened Windmill Theatre in June 1931. Click for details.

The name for the Theatre came from the fact that there had once been a Windmill standing on the same site when the area was still just farmland known at the time as Windmill Fields. The Windmill itself remained until the later part of the eighteenth century.

The Windmill Theatre was actually a reconstruction of an earlier Cinema on the same site which had been built in 1909 and opened as the Palais de Luxe on the 20th of December that year. The Palais de Luxe, with a capacity of around 600, was one of the first purpose built Cinemas in the West End and was designed to show the early silent films but by the 1920s it had gained in stature when it become Britain's first art house Cinema. The Cinema's fortunes came to an end by the turn of the decade however, when it found itself unable to compete with the new super cinemas being built all over London.

In 1930 Laura Henderson bought the Palais de Luxe and formed a new Company, the Windmill Theatre Co, Ltd., with Bernard Isaac and J. F. Watts Phillips. Laura Henderson had the Cinema almost completely rebuilt as a Theatre. The architect for the work was F. Edward Jones who had the exterior of the building remodeled in the style of a windmill, and the interior completely restructured. The new auditorium was built on two levels, stalls and one circle, with a capacity of 322, somewhat smaller than the earlier cinema but this was because the architect had to fit a stage and working fly tower into the same space.

The Windmill Theatre opened on the 15th of June 1931 with the Michael Barringer play 'Inquest!' with Mary Glynne, Hilda Trevelyan and Herbert Lomas in the cast. Geofry Norman was the stage director and the stage manager was Henry Thomas. The Theatre was licensed by the Lord Chamberlain to J. F.Watts-Phillips. The play was not the success that was hoped for though and the play didn't last long.

By December 1931 Laura Henderson announced that the Windmill was to have a change of policy and that her manager Vivian Van Damm was to use the Theatre as a variety house with non stop performances in a bid to help the failing variety profession which was under strain from the new 'talky' films around the Country.

The first performance was held on the 3rd of February 1932, probably for the press, but on the 4th of February 1932 the Windmill Theatre reopened its doors to the public proper with Van Damm's new non stop variety shows, aptly named 'Revudeville.'

Right - The Windmill Theatre during its Revudeville period in a photograph taken in 1958 - Courtesy Gerry Atkins.

Left - The 1934 Revudeville Souvenir Programme - Courtesy Maurice Poole, who writes: 'Of all the Windmill Theatre souvenir programmes I feel this 1934 edition is the finest. Other programmes were more elaborate with cut out covers and felt type covers but I love the tableaux photographs in this programme.' - Click to see more of this Programme.

"THE WINDMILL SAILS"
An article by Laura Henderson from the Revudeville Programme No. 34

I am enchanted to write the News Item this week for two reasons, firstly that I may say all I think of my lovely Company, and, secondly, that 1 can have a talk with the numerous and delightful patrons whom I so often see but seldom have an opportunity of meeting. Some come and speak to me and introduce themselves, which so delights me that I am in hopes, after reading this, that more will do so - for I owe them a great debt of gratitude for their constant sympathy with, and appreciation of our efforts.

You know I re-built the inside of this theatre entirely in 1931, and started with an excellent Play "INQUEST" in 1932 - at least all the critics said it was excellent, but it failed to please, and I lost more than I care to confess.

So I thought if I lose all this over a good play, what am I going to lose over a bad? I must change my policy and then Mr. Van Damn who, as you know, is an expert in films, came along, and I said "I will run films!" But not even his genius could make it a success! Then a Mr. Samett sent me a proposition which I at once took to Mr. Van Damm. He thought there was a great deal in it. I said: " What should I lose if it failed? " He said : " Anything up to £10,000 !" Fortunately I was in a sporting mood and said "What fun ! " And so Non-Stop Variety was born - I confess rather a feeble infant to begin with, but how it grew! No less than eight theatres copied me!

Right - Two of the Windmill Girls, Vicki Emra and Beryl Catlin, take a break on the roof of the Windmill Theatre - Courtesy Jill Millard Shapiro.

Then my talented and charming Producer came, and you know the success we have achieved ever since, and the numerous artistes I have been so glad to help when Variety seemed dead.

It is rather amusing to me to be running a Variety show, and I'll tell you why. I was never allowed inside a theatre at all till I was married, consequently I had no idea of what it was like. My husband, who adored the Gaiety and Nellie Farren and Fred Lester, etc., took me as my first effort to a Gaiety Burlesque. I, like most girls of that period, had been taught to regard legs as something you might perhaps meet in your bath, but never elsewhere, and my horror at the legs - rows and rows of them - I shall never forget. It's true they were in tights, but they were undoubtedly legs. I had the shock of a lifetime, but was just bearing up when the Principal came on with an enormous diamond star just in the middle of her thigh. This was more than I could bear, and I implored my husband to take me out, but he, being a wise man, said "Don't be an idiot," and we remained.

My education was then made in various music halls on condition I remained behind the curtain in a box and never was seen or saw too much. In those days it was considered terribly improper for a married woman to be seen at a music hall, and I think my mother would have passed away had I confessed to her the depths to which her beautifully brought-up daughter had sunk. In those days Variety flourished, but I never enjoyed it as they had a few brilliant stars with the rest of the turns usually deplorable. I find my present company all stars, and I never know a dull moment - isn't that lovely?

Left - Click to see all the Windmill Theatre Revudeville Souvenir Programmes.

And you know, I've never had any performers that are not British - I'm sternly British myself and too patriotic to wish to see British talent replaced by foreign - admirable as the foreigners undoubtedly are. You can imagine it is not always easy, and I do admire the patience and skill which my dear Producer and Manager show as they hear turn after turn at auditions. But I rejoice to think what a lot of talent there is in England and what a lucky woman I am to be employing 130 people in my tiny theatre.

It is wonderful - and so encouraging - the interest everybody has taken in my adventure. I am President of four branches of "The Women's Guild of Empire," and whenever I speak in Yorkshire, South Wales, East Ham or Battersea, my women (usually audiences of over 100) are most desirous to hear all about the Windmill. They read everything published about it in the newspapers, and whenever they have a "beano" to London, part of their programme is to visit the Windmill where they are a perfectly splendid audience and laugh at every joke - almost before the comedian makes it! I spoke last year in a suburb of London to the Soroptimists, and about a month afterwards I received a letter from one of them saying they were starting a Club, and might they call it the Windmill as they had so enjoyed an evening there. Wasn't that charming? They visit it often, and yesterday I had a letter from Australia saying the writer had just seen my photograph and a description of the Windmill in an Australian paper. Well, all this delightful encouragement makes me a very happy woman - happy particularly in having such lovely people to work for me, such splendid team work - I can imagine no better, and I love all my Company dearly, from the Manager to the Call Boy - and my audiences too, and I thank them all with my love and deep gratitude.

The above text was written by Laura Henderson and is from the souvenir programme No. 34 - Courtesy Maurice Poole..

Above - In 1940 Kenneth Bandy, who was the House Manager at the Windmill Theatre at the time, set about photographing some of the scenes from the Revudeville shows at the Windmill Theatre on to 35mm colour slides. These slides now belong to Maurice Poole who has had them restored and digitised by David Rose and has kindly sent them in for inclusion on the site. There are 256 of these slides and all you need to do to see them all is to click the image above.

Revudeville was an immediate success and people flocked to the Theatre to see the new innovative productions which were performed from 2.30 in the afternoon right up until 11 in the evening.

Despite the success however, it was over a year before the Theatre began to recoup some of the money spent on the rebuilding, indeed in the first year the Company lost £20,000, a considerable sum in the early 1930s.

Right - The movie star George Raft sitting with Windmill Girl Jill Anstey on the dressing room stairs at the Windmill Theatre in 1948. Raft was taking a break in London before heading for North Africa to make a Foreign Legion film. The back of the photo carries a note saying 'Touring London he absorbed the atmosphere that has made him what he is.' - Photo Courtesy Jill Millard Shapiro.

Of course, as is well known today, the success of Revudeville was not really down to the non stop variety at all, or even the scores of comedians and other acts who performed for the mostly distracted male audience, many of whom would go on to become household names in the future, but because of the Windmill Girls themselves, who would appear in nude tableaux throughout the performances, even though they would have to remain absolutely still for the entire time because of licensing restrictions. Should they have moved a muscle then the Theatre would have been closed down.

In 1973 a campaign was started in an attempt to convert the building back into a Theatre again and to revive it's earlier Revudeville style of productions but sadly this came to nothing.

The following year, in February 1974, the Theatre was bought by Paul Raymond who announced his intention of making the Windmill a home for nude shows again, but as history has shown, this was to be an entirely different class of entertainment altogether.

Left - A poster for Paul Raymond's 'Let's Get Laid' at the Windmill Theatre - Courtesy Stephen Andrew.

Right - A Programme for "Lets Get Laid"a Paul Raymond production which featured the well know artistes John Inman, Jack Haig, and Fiona Richmond. The programme is dated 2nd September,1974 and the production was directed by Victor Spinetti. - Courtesy Maurice Poole.