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____________________________________________________________________________________________________ Theatres in Brixton, London Astoria / Brixton Academy - Empress Theatre / Granada Cinema - Brixton Theatre - Palladium Picture House / The Fridge - Electric Pavilion / Ritzy Cinema |
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The Brixton Academy, 211 Stockwell Road, Brixton, London SW9 Formerly The Brixton Astoria Theatre
Above - The Brixton Academy, formerly the Brixton Astoria, in July 2009
The Brixton Academy was originaly built as the Brixton Astoria by T. R. Somerford and Edward Albert Stone as a Super Cinema with an exterior in the Italian Renaissance Style, and an auditorium decorated by Marc Henri in the 'Atmospheric' style. The Theatre was the first of four Astoria Theatres to be built in London for the independent film exhibitor, Arthur Segal. Following the building of the Astoria, Brixton Segal went on to build the Astoria, Old Kent Road, which has since been demolished; the Astoria in Streatham which is now an Odeon Cinema; and the Finsbury Park Astoria, which has since been converted into a church. Stone also built the former Astoria Theatre in Charing Cross Road and the Astoria, Brighton.
Above - The Wonderful 'Atmospheric' interior of the Astoria, Brixton - Photo by John D. Sharp - From 'Cinema Organ' 21st Anniversary edition, December 1973 On its opening on the 19th of August 1929, with the film' The Singing Fool' with Al Jolson, the Brixton Astoria seated 2,982 people in it's fantastic 'Atmospheric' auditorium. The Theatre had a fully equipped stage some 40 foot deep, a Compton 3 Manual / 12 Rank organ which was inaugurated by George Pattman, an unusually placed projection box, which was hung underneath the Circle, and a restaurant for use by the Theatre's patrons. The Astoria was taken over by Paramount in December 1930, who would later go on to sell the building along with their other Cinemas, to Odeon in November 1939. Later still the name was changed to the Odeon Astoria, and whilst under the ownership of the Rank Organisation the Astoria was finally closed as a Cinema on the 29th of July 1972 with the films 'Red Sun' and 'The Looking Glass War.' Subsequently the Theatre was converted into a nightclub called the Sundown Discotheque but this only lasted for 4 months and then it was proposed that the building be demolished. Thankfully this never happened and the Theatre was used instead as a Warehouse by the Rank Organisation for several years. In 1974 the Theatre was Listed Grade II. In 1982 the Theatre was re-launched as a Concert Venue called 'Fair Deal' and opened on the 12th of March with UB40, but this was unsuccessful and the operators went bankrupt. Fair Deal closed the following month. The following year the Theatre was reopened as a Concert Venue again, this time called The Academy, on the 7th of October 1983 with the Japanese Group 'Eek - a - mouse.' In this guise the Brixton Academy has been very successful but over the years the Theatre suffered some damage to its spectacular auditorium, especially the plasterwork by Marc Henri. In March 1990 the Theatre's Listed status was upgraded to Grade II* In 2006, under the ownership of the Mobile Telephone Company O2 the building was substantially renovated in an attempt to restore the building to its former glory. The auditorium Stalls are now empty of their original seating and so the building has a huge capacity as a result, some 4,921 people can squeeze into the former Astoria Theatre on any given night. You may like to visit the O2 Academy's own Website here. If you have any more images for this Theatre that you are willing to share please Contact me. |
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Empress Theatre,
Bernay's Grove, Brighton Terrace, Brixton
Above - A sketch of the Empress Theatre, Brixton - From the ERA, 17th of December 1898 - Courtesy BF - To see more of these Sketches click here |
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Right - The Housing Estate on Bernay's Grove, Brighton Terrace, Brixton which was built on the site of the former Empress Theatre / Granada Cinema in 1992 - M.L. 2008. Arthur Lloyd is known to have performed at the Empress Theatre, Brixton 1900, 1901, 1902. A few weeks before the Theatre was opened, the ERA set off to Brixton to take a look at the building, their article in their 17th of December 1898 edition is a fascinating read as it shows just how much still had to be completed on the building, and what a chaotic state it was in so close to its opening. Theatres were being built all over the Country during this period and they were going up at a fantastic rate, the following article shows what it was like to be there at the time, and how hard the craftsmen must have worked to get the buildings open on time: '"Midst pleasures and palaces," particularly the latter in the finishing stages, "there is no place like home," so soliloquised a human wreck, seated upon an upturned bucket in the remotest recesses of the new Empress which has arisen at Brixton, as he resigned himself to the worst, and proceeded to disentangle fresh wet plaster from his personal belongings, and mentally calculated how many quarts of benzine would be required to remove the paint from his coat, which was now, like Joseph's, a veritable coat of many colours. "Although disclaiming any intention of eclipsing the Alhambra, or wiping out the Empire, the proprietors of the new Empress Theatre of Varieties, Messrs Grimes and Burney, have fully made up their minds to provide the playgoer of suburban Brixton with an establishment which shall be at once as comfortable and as attractive as these palaces of pleasure, and this with the aid of their architects, Messrs Wylson and Long, they are in a fair way of accomplishing. During the summer the building has made good progress, and it is now emerging from the chrysalis stage into a thing of beauty and a joy for ever." The foregoing paragraph was the innocent cause of our opening soliloquy, for on the strength of it we had been deputed to spy out this land of promise, and accordingly made our raid one morning this week. There was no difficulty in finding the place, as everybody in the neighbourhood knew all about it, and approaching from Brixton-hill we obtained a first view of a really very striking front, the whole dominated by a handsome and lofty turret, the entire composition forming a valuable addition to the architectural beauties of Brixton. Left - A Variety programme for the Empress Theatre, Brixton for the week commencing 29th September 1930. Our instructions, however, were to find one of the architects, and as Mr Wylson was luckily, or unluckily, in the building, we set out under the charge of Mr Gillson, the foreman, in search of him. We sighted him on the stage in company with Mr Strode, of Messrs Strode and Co., who are doing the electric lighting, heating, &c., but he proved a perfect up-to-date phantom, who could give the Surrey trapdoor specialists a start, and then finish first. Once we saw him in the dome superintending Mr Boekbinder's superb decorations, but when after a frantic scramble along scaffolds and ladders we reached the spot, he was reported to have just gone to inspect Messrs Merry weather's fireproof curtain, which was being got into position. So after having raced three times round the building, amidst a perfect tornado of plaster, paint, and general debris, we reached the cellars, and sat down on the aforesaid bucket, refusing to move another step. However, Mr. Wylson's partner, Mr Charles Long, came to the rescue, and when we had explained he kindly offered to show us round, but we had scarcely entered upon the scene when we were seized upon by Mr Vaughan, the managing-director of Messrs Vaughan and Brown, who insisted upon our visiting the stage to inspect his gas arrangements, which seemed to be very complete. We understood his firm are also responsible for the canopies and hydrants. The noise of hammering shouting, &c., made it impossible to talk, so we adjourned outside to the front, and gazed upon its architectural beauties anew. Here the architect pointed out that the pit and gallery have also entrances from the main front, and the comfort of the pittite is fully insured by an ample glass canopy which will run round the entire front of the building. Entering from the box-office hall (which is to be made a telling feature, with marble mosaic by Messrs Diespeker and Co., and Japanese leather decorations), one is surprised at the size of the interior, which provides seating accommodation for 1,500 people, and the liberal scale upon which everybody and everything is being provided for, and the ingenuity displayed by the designers in dealing with the accessories. The auditorium measures some 75ft. by 64ft. in the clear, and is surmounted by a lofty saucer-shaped dome, which should render the place cool in summer, and at the same time give the interior a wonderfully light and airy appearance. There are two excellent balconies, or tiers, of fireproof construction throughout, and two boxes on each side. The ground floor is to be divided into the usual stalls and fauteuils, and is designed to such a capital rake (as, indeed, is the whole house) as should make the occupant of the backmost seat consider himself on equal terms with the man in the front. When it is known that the whole of the seating and furnishing is in the hands of Messrs Shoolbred and Co. the comfort of the house may be taken for granted. At the back are the usual refreshment facilities, whilst the promenades are practically dispensed with, a matter which I take it will not cause much grief in Brixton. The approach from the balcony, after leaving the box-office and ascending a handsome staircase, is through a very neat little vestibule (off which will be found the den of the courteous manager. Mr E. V. Page, late of the Cambridge, who will have charge of the fortunes of this enterprising show), into what can only be described as one of the best dress-circles within the radius, that is to say, when it is finished. Its present stage is slightly chaotic. There is to be a nice lounge and bar in connection with this tier, and granted a good performance such as the proprietors promise, and a moderate entrance fee, this part of the house should be exceedingly popular.
Right - A Seating Plan for the Empress Theatre, Brixton, from a Variety Programme for the week commencing 29th September 1930. Behind the scenes is provided a first-rate stage, 60ft. wide by 40ft. deep, with a proscenium opening 30ft. wide, and of a proportionate height, the gridiron being so arranged as to allow the scene cloths to be taken up without folding or rolling. And last, but not least, there are the dressing-rooms, which are of fire-proof construction throughout, well lighted, and will be fitted with every possible convenience for the benefit of that worthy band upon whom the brunt of the evening's work falls. Talking of bands reminds me that not only has the much adjured trombone and his fellow creatures been provided with a snuggery, but even the ubiquitous and grimy gasman has his own little sanctum. In fact, go where you will everybody seems provided for, and every proposal you may meekly suggest has been promptly forestalled by the long-suffering architects, who, however, assure us that any suggestion addressed to them, or the proprietors, would receive careful attention. The Empress is to be opened on Boxing Day.' Above text in quotes is from the ERA, 17th of December 1898 - Courtesy BF. |
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Just a week before the Theatre was officially opened a viewing of the building was arranged for interested parties and the ERA printed another review, this time of the occasion and the building itself, in their 24th of December 1898 edition saying: 'Messrs W. H. Burney, W. J. Grimes (the proprietors), and E. V. Page (manager) were "at home " on Thursday evening at the new Empress Theatre, Brixton, to a crowd of friends and well-wishers, who had been invited to view that newest addition to London's amusement palaces - the Empress, Brixton. Neither of the gentlemen mentioned seemed to have had their spirits damped by the recent decision of the London County Council to restrict their refreshments to watery decoctions; for had they not turned their backs on the Spring-gardens fanatics and sought the more gracious authority of the Lord Chamberlain with perfectly satisfactory results?
Left - A Twice Nightly Variety programme for the Empress Theatre, Brixton for the week commencing October 17th 1955. The light and airy appearance of the auditorium, which measures 75ft. by 64f t. in the clear is accentuated by the chaste embellishments, by Mr J. Boekbinder, of the domed ceiling. This is divided into nine panels, each ornamented by a heraldic device of griffins, in white fibrous plaster, clawing a shield in a delicate shade of pink. An old-gold groundwork throws up the design, which would be more effective still were the electroliers handsomer and larger. Again we see Mr Boekbinder's work over the proscenium, which bears on each top corner a reclining female figure - one being Euterpe, the other Terpsichore. Above the two boxes, placed on each side of the proscenium on the dress circle level, are paintings, for which Mr Boekbinder is also responsible, somewhat after the manner of the artists who flourished in the days of Madame Du Barry. The allegorical subjects, which are similar in conception, suggest cupids frolicking in rose gardens, and are beautifully painted. The artist, who has done so much for the internal decoration of our more important theatres and music halls, has every right to be proud of these pictures. The ends of the private boxes on each side are set off by two boldly modelled winged caryatides. The prevailing tints of the decorative work in the interior are cream and gold, relieved by a delicate pink, whilst the spandrel of the proscenium arch is liberally embellished in gold mosaic. The fronts of the tiers are enriched with scroll work in white fibrous plaster; and the deep crimson paper which will shortly line the walls will be in admirable accordance with the general decorative scheme. There are two excellent tiers - a balcony and gallery - constructed on the cantilever principle, thus affording maximum amount of stage view by dispensing with supporting columns; and the ground floor seating throughout has a good rake, that enables every occupant to obtain a clear and uninterrupted view of the performance. Every device that can increase the comfort of the audience seems to have been thought of. The floors are softly carpeted in crimson, and the same colour dominates the rich silk plush-covered and luxuriously-upholstered fauteuils and pit stalls. The lovely plush curtain, too, is crimson, embroidered with a Renaissance design - in character with the decorations of the house - in old gold. For this curtain, the upholstery, the seating, and the furnishing Messrs James Shoolbred and Co. are responsible, the work being carried out under the able direction of Mr Ridout.
Right - A Twice Nightly Variety programme for the Empress Theatre, Brixton for the week commencing October 17th 1955, including Bruce Forsyth, the 'Incredible Character.' Behind the scenes is provided a first-rate stage, 60ft. wide by 40ft. deep, with a proscenium opening, 30ft. wide, and of a proportionate height large enough to accommodate big spectacular productions, the gridiron being so arranged as to allow the scene cloths to be raised without folding or rolling, and all the most approved machinery and accoutrements are provided for scenic effects of a most elaborate description. The dressing-rooms (of fireproof construction) are well lighted, and fitted with every convenience for the benefit of the artists. The building, which we hope is about to lift its head to the eternal summer of prosperity, has been erected by Mr T. L. Green, contractor, of Eagle-street, Red Lion-square. The plastic and other decorations have been executed by James M. Boekbinder, the electric lighting and heating by Strode and Co., the upholstery, seating, and furnishing by Jas. Shoolbred and Co., the canopies and gas lighting by Vaughan and Brown, under the experienced direction of Mr Vaughan, the fire-curtain and appliances by Merryweather and Co., the mosaic and marble work by Diespeker and Co., the stage appliances by Lyons and Co, the constructional ironwork by Dennett and Ingle, and the scenery by that clever artist in distemper Richard H. Douglass. The hall opens on Monday, under the able management of Mr E. V. Page, who was for fifteen years the popular director of the Cambridge, under the late Will Riley's proprietorship. Mr Page has been most successful in his Boxing Day list, for he has secured Tom Leamore, G. W. Hunter, Kate Carney, Sisters Preston, Arthur Lennard, Clara Wieland, the Lennards, Harry Pleon, T. W. Barrett, the Brown and Kelly Combination, in My Wife's Baby, and Edison-Thomas's Life-size Pictures. Above text in quotes is from the ERA, 24th of December 1898 - Courtesy BF. |
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However, the popularity of Cinema and the demise, across the country, of Variety in the 50s, affected the Empress just like most Theatres and in 1957 the Theatre was converted for Cinema use and renamed the Granada Cinema. By the 1970s cinema was on the wane too, this time because of television, and the old Empress, now the Granada, was forced to have yet another change of use, this time to Bingo. Then the final insult for this once proud Theatre was when Bingo finished and the building was temporarily used as a furniture store. The final demise of the building was in 1992 when it was demolished to make way for residential development (Shown Above Right.) For images of the Theatre in several of its guises see this site... Arthur Lloyd is known to have performed at the Empress Theatre, Brixton 1900, 1901, 1902
Alan Chudley writes on the Brixton Empress Theatre and the VTC circuit. I knew the Brixton Empress in the mid-1940s, Together with the Metropolitan, The Palaces at Chelsea, East Ham and Walthamstow, this was all that remained of the VTC circuit; ( Variety Consolidated Theatres,) the South London Palace being lost during the war years. As I knew the Empress it had been largely rebuilt in 1931 in the sprit of an Art Deco cinema. There were two Large circles but no boxes. Unusually for a Variety Theatre, the Empress had counterweight flying, no doubt due to the fact that the, then, major supplier of such Systems; "Halls" was based in Brixton.
Left and Right - Variety Programme details for the Empress Theatre, Brixton in February 1945 - Courtesy Alan Chudley. With the coming of commercial television in 1955 VTC was taken over by Granada, who wanted the Chelsea Palace for use as a television Studio. Text courtesy - Alan Chudley. |
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Brixton Theatre,
Coldharbour Lane, Brixton
Above - Postcard showing the Brixton Theatre, Brixton Brixton Theatre was built next door to the Tate Library in Brixton by the renowned Theatre Architect, Frank Matcham in 1896. Opening on the 21st of September that year with a production of 'The Sign of the Cross' with Wilson Barrett in the role of Marcus Superbus, the Theatre, with a capacity of 1,504, was home to plays, small touring productions, and Christmas Pantomimes. The auditorium was built on three levels, Stalls and Pit, Dress Circle, and Gallery, with several Boxes.
'New Theatre at Brixton. -The popular South London suburb of Brixton has followed the example of' Camberwell and Stratford, and has now a fine playhouse of its own. The foundation-stone of which was laid by Sir Henry Irving more than two years ago. The main entrance is in the tower-like front, surmounted by a cupola, facing Brixton Oval, and adjoining the Tate Free Library. Two railway stations, Brixton and Loughborough Junction, are within a stone's throw, and there is a constant service of trams and busses to all parts from the theatre. On account of the difficulties of the site which Mr. Frank Matcham, the architect, has had to encounter, the building is perhaps less impressive from without than from within, where everything is most artistic and comfortable. A spacious staircase leads to a semi-circular crush-room, and thence to the different parts of the house, which will accommodate fully two thousand people. The pit is said to be one of the finest yet devised - each row being higher than the one in front, giving every-one a complete view of the ample stage, which is cut off from the auditorium by a thick proscenium wall and a fireproof curtain that can be lowered in eight seconds. The patrons of the gallery will have every reason to be satisfied with the accommodation there provided; and the glass and iron shelters will make things comfortable until the doors open. The electric lighting installation is very complete. Next Monday afternoon, Sept. 21, the theatre will open its doors with "The Sign of the Cross," in which Mr. Wilson Barrett will sustain the role of Marcus Superbus. Mr. Charles Rider Noble is the manager.' Above text in quotes and image right from the Penny Illustrated
Paper and Illustrated Times, Saturday September the 19th, 1896. The Theatre was renamed the Melville Theatre in 1940 after Frederick Melville, who ran the Theatre from 1907 to 1934 and 1936 to 1938, but was destroyed shortly afterwards by a high explosive bomb on the 8th of November 1940 and subsequently demolished, but the Tate library next door survives to this day. The Ritzy Cinema, which was also built next door to the Theatre, on the other side, in 1911, has occupied part of the site of the Brixton Theatre since the Cinema was enlarged in the 1990s.
Above - The Brixton Theatre and Tate Library - From a Postcard sent in 1907
Above - The site of the Brixton Theatre in 2008, 101 years after the postcard above. - Note that the Tate Library is still as it was when the Theatre was there and that the Ritzy Cinema, built in 1911 now occupies part of the site of the Theatre too - Photo M.L. |
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Palladium
Picture House, Brixton Hill
Above - Real Photograph of the Palladium Picture Playhouse, Brixton with its original Baroque Frontage in 1914, just a year after it opened. The Palladium on Brixton Hill, next door to the Brixton Town Hall, was built by Gilbert Booth and opened as the Palladium Picture Playhouse on the 20th of March 1913 with a capacity of around 1,200 people on two levels, Stalls and Balcony. The Cinema was renamed to the simpler 'Palladium Cinema' in 1929 when ABC bought the building. In 1956 the Cinema was renamed 'The Regal' when the building was reconstructed and sadly this included destroying the original facade in a program of modernisation, (See image below.)
Above - Real Photograph of the ABC Cinema, Brixton, formerly the Palladium Picture House, in the 1970s with a radically modernised Facade. The Cinema is advertising the film 'Dirty Harry.'
Left - Detail from the Real Photograph, shown above, of the Palladium Picture Playhouse, Brixton with its original Baroque Frontage in 1914, just a year after it opened. The Cinema is advertising 'Ceasless Entertainment from 2 to 11pm Daily. The Ace closed down on the 28th March 1981 and the building was then converted for Music and Concert performances, occasional Film showings, and for a while it was even used as a Roller Disco. This eventually closed down too and subsequently a fire damaged part of the auditorium. However, the building was repaired and furthur converted, this time into a nightclub called 'The Fridge' which opened on the 8th of June 1985 and still remains as such today, although you would be hard pushed to recognise it as the building it once was. |
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Above - The Fridge Nightclub, Brixton Hill, formerly the ABC Cinema / Palladium Picture House, in 2008. Note that the Town Hall, next door, is still visible and unchanged despite all the changes to the Palladium - Photo M.L. |
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Above - The Brixton Palladium Picture Palace - From a period Postcard. |
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Ritzy Cinema,
Coldharbour Lane, Brixton
Above - Brixton's Ritzy Cinema, formerly the Electric Pavilion, in 2008 - Photo M.L. The Ritzy Cinema was built next door to the Brixton Theatre and originally opened as the Electric Pavilion in 1911. It was enlarged in the 1990s and now occupies part of the site of the Brixton Theatre next door. The Ritzy Cinema holds the distinction of being the oldest Cinema in South London which is still in use today. |
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The
Empress Theatre, Brixton was designed by 
The
main entrance is situated at the corner immediately under the turret.
Passing through a vestibule we reached a spacious hall, in which is
placed the box-office, and from which an entrance is obtained to the
stalls, boxes, and balcony. Here we met the general contractor Mr Green,
who received us with unruffled serenity. 
In
the upper tier or gallery, patrons of the house will be agreeably surprised
at the completeness of the arrangements, and the attention to detail
which has been bestowed to secure the comfort of this usually neglected
portion of the auditorium. It is needless, perhaps, to say that the
cloak room and lavatory accommodation is ample, and the sanitary specialist
will not find a peg to hang himself upon, to say nothing of his objections.
In case of fire, or panic, there is a separate emergency exit provided
for every portion of the house, exclusive of the entrance, whilst fire
hydrants and buckets will be strewn around in reckless profusion regardless
of cost. The stage is entirely cut off from the auditorium by an asbestos
fireproof curtain, which will, moreover, be fitted with a water spray
attachment, rendering the spread of fire practically impossible. The
premises are lighted throughout by electricity, with a secondary system
of gas lighting in case of failure, and an efficient heating plant is
being put down. The internal decorations, in the French Renaissance
style, are carefully designed, and will, when completed, be a credit
to Mr Boekbinder, the decorator, and commend themselves to every connoisseur
of architectural detail, and considerably enhance the fine effect of
the interior. The tableaux curtains and tip-up chairs, and the general
drapery, will be upholstered in silk plush of a beautiful crimson colour,
and the whole decorations throughout will be lavishly enriched with
old gold. 
The
new place is a valuable addition to the architectural beauties of suburban
Brixton; and though it does not face the main road, its handsome and
lofty turret attracts the attention of all wayfarers to its striking
facade. On entering the theatre from the box-office vestibule, paved
in ceramic mosaic work, the visitor is at once impressed by the size
of the interior, which provides seating accommodation for 1,500 people,
and the ingenuity displayed by the designers, 
In
the upper tier or gallery an agreeable surprise awaits one in the completeness
of the details and the attention bestowed to secure the comfort of this
usually neglected portion of the auditorium. Every regard has been paid
to safety. The house is of fireproof construction, and in addition to
eight separate entrances and exits there is an abundance of fire appliances
on each floor, and the stage is entirely separated from the auditorium
by an asbestos fireproof curtain, which is, moreover, fitted with a
waterspray attachment, rendering the spread of fire practically impossible.
All doors are made to open outwards, and are fitted with patent automatic
In
1931 the auditorium of the Brixton Empress had an Art Deco remodeling
and the exterior was modernised at the same time. The Theatre then continued
as a Variety Theatre until the mid 1950s.
Sadly this counterweight flying caused the death of the Stage Manager
who was using a counterweight bar to move some radiators under the stage;
a stupid operation as the counterweight bar on return to the stage would
be out of balance. The bar shot up towards the grid, the stage managers
foot was caught in a chain attached thereto, he was taken upwards, hit
his head on a gantry crossing the stage and fell over 20 feet to his
death. 
The
Penny Illustrated Paper and Illustrated Times on Saturday September
the 19th, 
The
Cinema was renamed 'ABC Brixton' on the 20th of October 1963 and then
renamed again in October 1977 when an independent operator took over
the building, this time to the 'Ace Cinema.'
