The Alexandra Theatre, Suffolk Street Queensway and John Bright Street, Birmingham

Formerly - The Lyceum Theatre / The New Alexandra Theatre

Introduction - The Lyceum Theatre 1901 - The Alexandra Theatre 1902 - The Present Alexandra Theatre 1935

Birmingham Index

Above - A Google StreetView Image showing the Main Entrance to the Alexandra Theatre, Birmingham in June 2023 - Click to Interact. In this image you can see the Tower of the original frontage of the Theatre which is still situated on John Bright Street behind.

The Alexandra Theatre, Birmingham that is still open today and has its main entrance on Birmingham's Suffolk Street Queensway was designed in the Art Deco Style by Roland Satchwell and Ernst Roberts, and was first opened with a production of the pantomime 'Cinderella' staring Georgie Wood, on Boxing Day, December the 26th 1935.

Right - The Original Frontage of the 1935 and Present Birmingham Alexandra Theatre.

The Theatre's main entrance was originally on John Bright Street but this was changed in 1968 when a new entrance and foyer were constructed facing Suffolk Street Queensway, with a raised bridge connecting it to the Theatre itself.

There is much more information on the present Theatre below but first some details of the original Theatre on the site, the Lyceum Theatre, which was renamed the Alexandra Theatre in 1902.

The Lyceum Theatre 1901

The Lyceum Theatre had its main entrance on John Bright Street and opened with a production of Frank Harvey's play 'The Workman' on Monday the 27th of May 1901. The Theatre was designed by the well known architects Owen and Ward and built at a cost of £10,000 for the Theatrical Manager William Coutts.

Right - A sketch of the Lyceum Theatre, John Bright Street, Birmingham - From an illustration in the Playgoer of 1901 / 1902 - Courtesy Iain Wotherspoon.

The Stage Newspaper reported on the new Lyceum Theatre in their 30th of May 1901 edition saying:- 'The Lyceum, situated in John Bright Street, in a most convenient position. It is an entirely new building, erected at cost of £10,000. The facade is of a graceful design, with a figure representing Art as its apex. The interior, which is decorated in the now prevalent Renaissance (or sixth) style of architecture, presents a beautiful appearance, with brilliant lighting and tasteful and comfortable upholstery. It is claimed - and justly so, so far as we are able to judge - that an uninterrupted view of the stage can be obtained from all parts of the auditorium, the cantilever system being in some measure responsible for this desirable state of things. There are two tiers in the house, and classes of playgoers are divided into occupants of orchestra and pit stalls, pit, private boxes (four in number), grand circle, and gallery. This view from the front of the house is pleasing in the extreme.

The colours are lavish and harmoniously blended, from the crimson, blue and gold of the horseshoe to the beautiful panel crowning the proscenium, the work of M. Sicar, a French artist. The comfort of the audience is not the only consideration of the management, for the dressing-rooms for the artists are built with every modern attribute, and are numerous and roomy.

The stage is sufficiently large to hold the most elaborate of touring productions. The lighting of the theatre is accomplished by 500 electric pendants, 250 of which are on the stage, while gas-fittings have also been provided in case of emergency.

Refreshment rooms are provided for every part of the house, but an Excise license will not be applied for. Mr. Coutts will continue - for a time, at all events - to provide representations of good dramas with the aid of an experienced stock Co., but it is probable that during the autumn and winter months the services of touring companies will be required. No one deserves to succeed mire than Mr. Coutts, and that this, his elaborate undertaking, will amply reward him is the wish of all.

The theatre was formally opened on Monday to a crowded and most appreciative audience. Frank Harvey's The Workman was the play presented, and met with a most flattering reception. It should be mentioned that Mr. Harry Dornton, the second son of the late Charles Dornton, of the Royal, is retained as resident acting-manager.'

The above text in quotes was first published in the Stage Newspaper, 30th of May 1901.

One of the early performers at the Birmingham Lyceum was Grace Anne (Gracie) Housley (shown left) who died on stage at the Theatre on the 5th of February 1902, at the age of 22. Newspaper reports of the time said that she collapsed during the rendition of the song 'Goodbye Dolly Grey'.

Left - Grace Housley - Courtesy Dave Smith.

Sadly for William Coutts the Lyceum Theatre was not as successful as he'd hoped and it was sold, only a year after being built, to Lester Collingwood for £4,450. Collingwood then had the Theatre redecorated by A. R. Dean Ltd., and reopened it as the Alexandra Theatre on the 22nd of December 1902 with a performance of 'The Fatal Wedding', see details of the Alexandra Theatre below.

The Alexandra Theatre 1902

Above - An early postcard showing John Bright Street and the Alexandra Theatre, Birmingham - Courtesy Maurice Friedman, British Music hall Society.

The first Christmas after taking over and renaming the Lyceum to the Alexandra Theatre Lester Colingwood put on his first Pantomime and the Stage Newspaper reported on the event in their 31st of December 1903 edition saying:- 'Mr. Collingwood has every reason to feel satisfied with the grateful reception of his first Christmas annual, though, after a cursory glance at the list of principals engaged, it needed little perspicacity to predict an extremely popular success.

Right - A Photograph of Lester Collingwood - Courtesy Markus Molenda.

Although fun and catchy melody are - wisely enough - salient features in Aladdin, the enterprising management has by no means neglected the spectacular aspect of the show.

Left - A Birmingham Alexandra Theatre programme cover for the pantomime 'Red Riding Hood' in 1932 - Courtesy William Neale.

In view of the fitting opportunity the subject affords for the display of Oriental magnificence, it is only natural that the scenic, artist, costumier, and electrician should vie with the comedians and fair artiste in contributing to the brilliance of the ensemble. Let us at once say that in all the above respects Aladdin will be worthily remembered...' - The Stage Newspaper, 31st December 1903.

Above - A Ringed Farthing advertising the Alexandra Theatre production of 'Aladdin' - Courtesy Alan Judd.

Above - A Token advertising the production of Cinderella at the Alexandra Theatre, Birmingham during the management of Lester Collingwood in 1906-07 - Courtesy Markus Molenda.

The following month the Stage was still enthusing over the production in their January 14th 1904 edition saying:- 'Aladdin continues to fill this popular house with crowded and enthusiastic audiences. The pantomime is as full of fun as an egg is of meat. There is not a dull moment from start to finish, thanks to the energetic manner in which the hardworking and capable Co. set to work

Right - An advertisement in the Stage Newspaper for 'Guilty Gold' at the Alexandra Theatre, Birmingham in June 1907.

Miss Minnie Jeffs is the bright particular star in the artistic firmament at the John Bright Street house, and her position is worthily maintained. Her song, "Yellow Bird," is one of the most noticeable successes in Birmingham this season, while "Cosy Corner" and "Somebody's Sweetheart" are also very much liked.

Left - A Seating Plan for the Birmingham Alexandra Theatre from a 1932 programme for the pantomime 'Red Riding Hood' in 1932 - Courtesy William Neale.

Miss Renee Raybourne has a good song on the inevitable Fiscal question; while others who contribute largely to the success of the pantomime in vocal or other departments are Miss Trixie Toole, Miss Kittie Brewster, Mr. Arthur Aiston, Mr. Oliver J. Round, etc. The clever speciality acts of the Brewester troupe in their lance and sword exercise, also a taking vocal and terpsichorean pas de cinq, are popular features in Mr. Collingwood's merry show.' - The Stage Newspaper, 14th January 1904.

Above - A programme, printed on silk, for Lester Collingwood's 'First Annual Benefit' at the Alexandra Theatre, Birmingham on December 22nd 1903 - Courtesy Brian Yates whose Grandfather Ernie Hall, comedian, is mentioned on the programme. Many of the performers in the Benefit were also in the production of Aladdin at the Alexandra Theatre that year.

Above - The Alexandra Theatre, Birmingham decked out in flowers and bunting to celebrate the Coronation of George V in June 1911 - Courtesy William Neale.

Above - The cast of 'Mother Goose' on stage at the Alexandra Theatre, Birmingham in 1911 - Courtesy William Neale.

Above - A Special Momento Programme for the Pantomime 'Aladdin' being performed at the Birmingham Alexandra Theatre for the Entertainment of Sick and Wounded Soldiers and Sailors, and Nurses in the early years of the First World War on Tuesday the 9th of March, 1915 - Courtesy Markus Molenda.

Sadly Lester Collingwood was killed in one of the earliest motor-car accidents, in September 1910. He had been on his way to visit the Theatre Royal Sheffield at the time, and was traveling with Tom H. Taylor, a theatrical manager, and Mr. Wooley, the manager of the Criterion Hotel, Birmingham. They were being driven by Collingwood's chauffeur in a 4 seater car and had almost completed their journey when they were in a collision with a telegraph pole on Chesterfield Road, Greenhill, after swerving to avoid a Milk Float pulled by a pony and driven by a 13 year old girl who had lost control of her vehicle. The children escaped injury but the car's passengers were less fortunate. Mr. Wooley was concussed and Lester Collinwood died on the way to hospital. It seems that he was hit by the cart's shaft or mudguard before they hit the telegraph pole.

After the death of Lester Collinwood Leon Salberg took over the Alexandra Theatre, and in 1927 he started his own Alexandra Repertory Company at the Theatre which performed twice nightly performances for many years along with annual pantomimes at Christmas, see poster right.

Right - A Poster for the Leon Salberg Pantomime 'Bo-Peep' at the Alexandra Theatre, Birmingham on Boxing Day, Dec 26th. Undated but probably 1925 as the previous year the same production with a similar cast was performing at the Nottingham Hippodrome. - Courtesy Stephen Wischhusen.

Left - Leon Salberg - From the Birmingham Gazette, 24th of December 1935.

Rebuilding of the Alexandra Theatre in 1935

In 1935 the Theatre was rebuilt in the Art Deco Style by Roland Satchwell and Ernst Roberts, who would also rebuild the Huddersfield Palace the following year. Work began on the reconstruction of the Theatre after the pantomime of 'Dick Whittington' finished its run at the end of March 1935. The work took 9 months and cost £40,000 to complete. The Theatre reopened on Boxing Day, December 1935, with a production of the pantomime 'Cinderella' staring Georgie Wood.

The Birmingham Gazette reported on the changes in their 24th of December 1935 edition saying:- 'Practically everybody who is publicly known in Birmingham was present in the new Alexandra Theatre yesterday after-noon for its formal opening by Mr. J. Smedley Crooke, M.P. for Deritend.

Right - The original Alexandra Theatre, Birmingham whilst showing its final production, the pantomime 'Dick Whittington', which ended in March 1935 - From the Evening Despatch, 11th of November 1935.

The opening ceremony preceded a dress rehearsal performance of the pantomime "Cinderella," the first performance proper of which will be held on the afternoon of Boxing Day.

Headed by the Lord Mayor (Alderman S. J. Grey, the audience included most of the members of the City Council, nearly all the chief civic officials, a large number of the leading business men, and representatives of every phase of Birmingham's social and public life.

The first impression of the new theatre is that although everything is new, brighter and bigger, the architect and builder have retained that homliness for which the "Alec" was always noted. The only bit of the old theatre that has been incorporated in the new is the wall in Station-street.

Left - A view of the work on the new Alexandra Theatre, Birmingham, showing the stage (which will be the widest in Birmingham), as will be seen from the upper circle - From the Evening Despatch, 20th of September 1935.

The new "Alec" is the most modern theatre in the Midlands, not only in the things that mean comfort for every section of the audience, but in the dignified handling of space and lighting.

To begin with it is a third bigger than it was - in other words it is 27 feet broader. This has been accomplished by taking into the auditorium the old rehearsal rooms and scenery dock. The stage, of course, has been widened proportionately. One would expect that with much extra space Mr. Leon Salberg (shown right) would have put in extra seats. He has not. His desire was to utilise it to make the theatre more comfortable.

So although the new "Alec" will not accommodate more than the old "full house" quota of just under 1,650, it will give its patrons much more comfort. One of the short-comings of the old theatre was lack of knee-room. That is now but a memory.

Right - Good Progress is being made with the rebuilding of the Alexandra Theatre, Birmingham, which will be opened for the pantomime season. Workmen laying the flooring of the Dress Circle - From the Birmingham Daily Gazette, 2nd of November 1935.

Circle Goes Forward - An extraordinary change has been effected in the general appearance of the theatre. Gone are the old boxes, the dress circle has been carried forward so that it is on terms of intimacy with the stage, and yet this forward extension of the first tier does not obstruct the view of the stage from the rear most seats of the pit-stalls. There is not a pillar in the whole house - Technically perhaps one of its most striking features is the magnificent sweep of the dress-circle, the main girder on which it is carried weighs 36 tons...

Above - The Alexandra Theatre, Birmingham in a sketch showing how it would look when it reopened on Boxing Day, December 1935 with a production of the pantomime 'Cinderella' - From the Evening Despatch, 11th of November 1935.

Above - The auditorium of the rebuilt Alexandra Theatre, Birmingham - From the Birmingham Gazette, 10th December 1935.

There is no "gods" in the new "Alec"

...From the dizzy height of the back rows of the upper circle one has the same unobstructed view of the stage and one looks down to it not from the long hard benches of the theatre of yesterday, but from comfortable tip-up arm chairs. The floor is richly carpeted. Such accommodation for the cheapest part of the house was undreamed of a few years ago. Although there is such comparative luxury "up aloft" not a halfpenny has been added to the price of admission. Prices in fact are unchanged all the way round...

Above - A Seating Plan for the Alexandra Theatre, Birmingham in 1935 - Courtesy William Neale.

Colour Scheme

...The new "Alec" is a decided acquisition to Birmingham's theatreland. It is the last word in modern ideas in every direction. And its colour scheme is gay and lively without having the slightest suggestion of garishness. The seating is carried out in three colours, rose du Barry yellow and grey. The carpeting - there is 1½ miles of it - is rose du Barry, and the walls are covered with a restful shade of fibrous texture paint.

Right - The Birmingham Alexandra Theatre nearing completion in 1935 - From the Birmingham Gazette, 4th of December 1935.

The proscenium arch is 40ft. wide, enabling the whole of the stage to be seen from the extreme seats of the house. Safety has been given the same careful consideration as comfort. It is as fire-proof as is possible for any building to be, for the "shell" is of steel girders, brickwork, and concrete. There is no timber in the roof and the cloak-room accommodation has been planned to avoid any crushing or delay in the after-show rush.'

The above text in quotes (edited) was first published in the Birmingham Gazette, 24th of December 1935.

Above - The Birmingham Alexandra Theatre of 1935 pictured on a 1930s Programme cover, with its Main Entrance on John Bright Street - Courtesy William Neale.

Above - A Seating Plan for the Alexandra Theatre, Birmingham in the 1960s - Courtesy Roger Fox.

In 1938 Leon Salberg died at the Theatre during a performance of 'Devonshire Cream.' His son Derek Salberg then took over the reigns and remained at the Theatre until he retired in 1977.

Right - A Ticket for the Alexandra Theatre, Birmingham in the 1960s - Courtesy Roger Fox. And a Flyer showing forthcoming productions at the Alexandra Theatre, Birmingham in the 1960s - Courtesy Roger Fox.

In the late 1960s the Theatre, which was running into financial difficulties and looked like it might have to close, and would probably then have been demolished, was thankfully saved when it was bought by the Council for £85,000.

And in 1968 the Theatre's main entrance, which was originally situated on John Bright Street was altered when a new entrance for the Theatre was built on Suffolk Street Queensway to give it more prominence. This peculiar and rather destructive addition to the building created a new entrance and foyer with a raised bridge leading to the original Theatre on John Bright Street.

Designed by the John Madin Design Group this alteration, whilst giving the Theatre a more prominent Front Entrance, also destroyed the look of the original frontage of the 1935 Theatre. In fact a lot of people might not realise that the main body of the Alexandra Theatre is actually situated on a different street behind the main entrance, see image below.

Above - A Google StreetView Image from May 2022 showing the Alexandra Theatre's original frontage to John Bright Street, and the present Bridge and new Foyer and Entrance building with its frontage on Suffolk Street Queensway - Click to Interact.

A walk around John Bright Street will reveal the original Theatre, shown above, and also, on the stage door side in Station Street, the plain brick dressing room block and exterior is that of the original Lyceum Theatre, the only remaining element of that 1901 Theatre today, see image right.

Right - A Google StreetView Image from April 2020 showing the Alexandra Theatre's side elevation to Station Street - Click to Interact. The dressing room block of the original 1901 Lyceum Theatre can be seen here and is the only surviving part of that Theatre today.

A full page article by Derek Salberg on how the Alexandra Theatre was saved from closure and demolition in the late 1960s and why the new entrance came about can be seen in the Midland Magazine Article from February 1969 shown below.

Above - A full page article by Derek Salberg on how the Alexandra Theatre was saved from closure and demolition in the late 1960s and why the new entrance came about - From The Midland Magazine, 15th of February 1969.

The Alexandra Theatre was bought by The Ambassador Theatre Group in November 2009 and after some refurbishment they reopened the Theatre as the New Alexandra Theatre. However, in 2018 after another, more extensive, refurbishment they removed the 'New' from its title meaning that today it is just called the Alexandra Theatre again. You may like to visit their own website for the Theatre here.

If you have any more information or images for this Theatre that you are willing to share, please Contact me.