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The Everyman Theatre, Regent Street, Cheltenham, Gloucestershire

Formerly - The New Theatre and Opera House

Above - The Cheltenham Everyman in October 2011 - Courtesy Tim Speechley

The Everyman Theatre, Cheltenham was built by Bradney and Co of Wolverhampton in 1891 and designed by the renowned Theatre Architect Frank Matcham in the Louis XV style. The Theatre today is considered to be the oldest surviving example of a Matcham Theatre, although the stage house was rebuilt in the 1980s.

The Theatre opened on October the 1st 1891 as the New Theatre and Opera House with a production of 'Lady Clancarty' starring Lily Langtry.

Right - A period photograph of the Everyman, Cheltenham when it was known as the New Theatre and Opera House.

A notice in the ERA the year before the Theatre opened announced that: 'Mr Frank Matcham is preparing the plans for a handsome new theatre for Cheltenham. The large block of buildings in the centre of the High-street, and known as the Assembly Rooms, for some time leased to Mr E. Shenton, has been bought for that gentleman, and will speedily undergo conversion. It is intended to build the theatre on the site of the present ballroom, the latter being superseded by one on a much larger and more modern plan. The ERA, March 1st 1890 - Courtesy B.F.

By September 1891 the Theatre was nearing completion and the ERA reported on the new building in their 19th of September edition saying: 'The new theatre is rapidly approaching completion, and will, without doubt, be one of the handsomest in the West of England. The directors have done well in selecting such a well-known architect as Mr Frank Matcham, whose services are at present in such request, and they have been equally fortunate in placing the work in the bands of Mesas Bradney and Co., Wolverhampton, who may be considered the leading builders.

Left - The Opera House, Cheltenham, 1891 - Courtesy Derek Aldridge, Marketing Manager of the Everyman, and Les Osman.

The theatre is estimated to seat 1,400 or 1,500 persons, but, if occasion requires, a greater number can be accommodated. The experience of the architect peeps out everywhere, and great has been his ingenuity in taking advantage of every available inch of apace, while the comfort and safety of the public have been studied most sedulously.

Above - The auditorium of the Everyman Theatre, Cheltenham in October 2011 - Courtesy Tim Speechley

The facade is neat and in good taste. The red brick is relieved by stone pediments and sills to the doors and windows, and upon the pediments there is, as a rule, some slight carving, heads in relief, representing Comedy, Tragedy, &c., while the gauge brick spandrills are also panelled and carved. In particular, over the pay-office window of the vestibule there is a gauge brick panel, with a carving of Shakespeare's head, with allegorical design and background in low relief. There is an ornamental pediment to the front gable of roof, and just below is a line of panels in Scaffato work of French design, the prevailing tints being Indian red and yellow ochre. About 30ft. above the level of the ground is a frieze 19ft. 9in. long and 2ft. in height bearing the words "Opera House" in ornamental raised letters, while the background is filled in with foliation in low relief. The pit doors are in the centre of the building, and on one side at the extremity of the front, are the gallery doors, and on the other side the principal entrance, and the double doors leading to a kind of private yard.

Above - The auditorium and iron curtain at the Everyman Theatre, Cheltenham in October 2011 - Courtesy Tim Speechley

The principal entrance, which is to the extreme left of the pit doors, leads directly into the vestibule, which is octagonal in shape, and bids fair when completed to be a picture of elaborate ornamentation. The design is said to be Moorish. Rich ornamentation has been lavished upon the ceiling, which is elaborately gilded and painted.

Right - The auditorium of the Everyman Theatre, Cheltenham in October 2011 - Courtesy Tim Speechley.

The prevailing colour is blue, and this is intermingled with a sort of fawn, the whole being picked out in Indian reds. Around are pilasters, trusses, panelled arches, all picked out in various tints, spaces have been left for flashing mirrors.

From here there are ways and bye-ways to all parts of the house; but for the public there will be the entrance to the private boxes, grand circle, upper boxes, and orchestral stalls. To the orchestral stalls one goes along a corridor at the side of the pit, but the dress-circle, &c., are attained by way of the grand staircase - a broad and easy ascent, which, like all the others in the building, is of stone.

Left - The auditorium of the Everyman Theatre, Cheltenham in October 2011 - Courtesy Tim Speechley.

In convenient positions off the grand staircase are the ladies' cloak and tea rooms, and over the vestibule there is an exceedingly nice light and airy refreshment room. It is but two short flights from the vestibule to the dress circle, and the upper circle is just above. In front is the stage, below is the orchestral stalls and pit, and above is another gallery. The gallery above is divided into two parts - the lower part being the upper circle, and the upper part, slightly more elevated, is the abode of the "gods," who have had very comfortable quarters provided for them. There are four private boxes, one on each side of the stage over the orchestral stalls. Over each of the stage boxes is an ornamental box, with a round opening, surmounted by a large figure of an angel. The whole interior, which is in the style of Louis XV. with a slight Italian intermixture, presents quite a gorgeous, and yet withal, artistic appearance.

Throughout the auditorium the prevailing tints are vellum, shades of cream, and electric blue, while gilt has been used wherever it could be introduced with effect. The ceiling has been treated with great skill, and looks very handsome. In the dome, the panels are painted in sky blue, with birds flying about.

Right - The Dome of the Everyman Theatre, Cheltenham in October 2011 - Courtesy Tim Speechley.

There are four panels in the ceiling, filled in with paintings, which typify the four elements - earth, air, fire, and water. In the "outer ring" of the ceiling there are eight panels, containing paintings of cherubs, or "cupids" according to the popular description, symbolical of music, painting, poetry, writing, the arts, &c.

Over the private boxes there are medallions, hand painted, with trophies of musical instruments. In the corners of the proscenium are figure paintings on a gold ground, representing Comedy and Tragedy. The gallery fronts have been decorated in accordance with the general pattern, and with cherubs peeping out here and there.

Left - The Proscenium of the Everyman Theatre, Cheltenham in October 2011 - Courtesy Tim Speechley.

The decorations have been carried out by Messrs Binns and Sons, of Halifax. The expedition with which the ornamentation of the building has been carried out, and its pleasing result, are in a great measure due to the work of the Fibrous Plaster Company, 45½, Eagle-street, Red Lion-square, London. Mr Moms is the representative of the firm in Cheltenham, and under his supervision the plaster ornaments have been fixed and joined, preparatory to being painted by the artist. Under this system the plaster has been brought down from London in slabs, to be fixed up here. It is remarkably tough and strong, and very dry, and can be painted upon almost as soon as it has been fixed.

One feature which strikes a visitor as peculiarly gratifying is that, in whatever part of the house he may find himself, he can obtain a good view of the stage. Even the sixpenny gallery is well off in this respect.

Left - The auditorium of the Everyman, Cheltenham in 1988 - Courtesy Ted Bottle.

The steps from the street to the gallery are arranged in easy flights, and there is an extra staircase, in case of need, leading directly down into the yard. It is intended to provide the patrons of the gallery with a small refreshment bar, which can be enlarged if necessary. A few steps from the street takes one into the pit, which is to be made very comfortable and inviting. There are to be sixteen rows in the pit, fourteen of which will seat thirty persons each.

Under the pit are a refreshment room, wine cellars, &c. There are to be five rows of orchestral stalls. Sanitary conveniences have been fitted up throughout the building, and every precaution has been taken in case of fire, there being extra doors on all sides, hydrants in convenient positions, while the stage is shut off by iron doors both in the flies and in the orchestra. All the exit doors have been fitted with a patent fastening, so that with a slight push from the inside they fly open, while no effort could induce them to open from the outside. These fittings are called Kaye's patent panic bolts.

The stage proscenium is 24ft. wide in the clear, and 34ft. high in the centre. The arch is in scagliola, and looks very effective. The stage is 48ft. wide, and 45ft. from the curtain line to the back. There are two scene docks, one on each side, 30ft. by 12ft. Above, at the back of the stage, is the "paint-bridge," which can be entered from the flies, and will be the place used for painting scenery.

Right - The auditorium of the Everyman, Cheltenham in 1988 - Courtesy Ted Bottle.

The comfort of the artistes has been well looked after. Above the green rooms are five dressing rooms, fitted with every convenience, and hot and cold water. The sanitary arrangements are also adequate. Below the stage is a compartment for the orchestra, and the dressing room for supernumeraries, Here we also find the groove in which the big drum for raising and lowering scenery is to work, "cuts" through which the scenery will be raised and lowered, trap doors, and other mysteries.

The musicians will be able to proceed through a door underneath the stage into the orchestra. To the right of the stage is a small lime-light "house " and the engine-shed, which is of large and convenient dimensions, containing the engine and dynamo for the generation of the electric light. The system is that of Messrs Lang, Wharton and Down, electrical engineers, New Bond-street (of whom Mr Shaw is the local representative), who have erected a gas engine of twelve-horse power, equal to 190 lights in the building. Mr G. Ezra is superintending the fitting-up of the electric light apparatus.

Right - The Auditorium and stage of the Everyman Theatre in 2006 - Courtesy Derek Aldridge and Les Osman.

Gas is also put on to every portion of the building. Messrs Mallory and Sons have fitted up the gas fixtures, the ironwork, and the electric bells, and Messrs Marshall and Sons the heating apparatus, boiler, and hot water pipes. The upholstery and luxurious fittings will be supplied by the Cavendish House Company. The work has been most energetically pushed forward by Mr Butler a member of the contracting firm, and Mr T. W Charles, who has proved a most efficient clerk of till works. The season opens on Oct. 1st, with Mrs Langtry as the bright particular star.'

The above text in quotes was first published in the ERA, September 19th 1891 - Courtesy B.F.

The Theatre opened on October the 1st 1891 as the New Theatre and Opera House with a production of Tom Taylor's play 'Lady Clancarty' starring Lily Langtry who also recited an introductory prologue praising the new Theatre before the performance.

The Theatre then went on to stage various plays and dramas over the following years, and was also a regular home to the D'Oyly Carte Opera Company. Many famous actors graced the Theatre's stage in its early years including Ellen Terry and Henry Irving. In 1925, with a change of ownership, the Theatre began putting on a wider variety of productions including Ballet, Opera, and Comedy shows. The Theatre also became a cinema for 3 or 4 years from 1929.

In 1955 the Theatre was bought by the Cheltenham Corporation in order to revive its flagging audiences but they were unable to do so and sold it on to a consortium of businessmen who were equally unsuccessful and subsequently in June 1959 it was announced that the Theatre would close.

The closure incensed the local population however, and a new Company was formed, the Cheltenham Theatre Association, which began raising funds and lobbying the local Council to allow them to run the Theatre. Six months later they were able to reopen the Theatre with its new name, The Everyman, chosen to show people that this was a Theatre for everyone.

Right - The Everyman in the 1960s - Courtesy Derek Aldridge, Marketing Manager of the Everyman, and Les Osman.

The Theatre had its own staff and a Company of actors and instead of being a touring house the Theatre was now in production as a repertory Theatre. Many well known names of today began their careers at the new Everyman including Steven Berkoff, Harold Pinter, Windsor Davies and Penelope Keith.

In 1983 a £3 million repair and refurbishment program began which involved renovating the auditorium and completely rebuilding the stage house and backstage areas. Repertory production then continued until the mid 1990s when the Theatre became a touring house again.

In the summer of 2011 the Everyman was substantially refurbished again at a cost of £3million, funded by Cheltenham Council, the Heritage Lottery Fund, the Arts Council, and individual sponsors. Restoration included restoring the plasterwork and paintings, new carpets, curtains and seats and the auditorium and foyers were updated and re-furnished. The Theatre reopened on September the 23rd 2011 with a one night special performance of Ken Dodd and his 'Laughter Show.'

The Everyman Theatre is a Grade II listed building . For more information and details of the Theatre's history you may like to visit the Theatre's own website here.

A new book on the history of the Everyman with a foreword by Steven Berkoff and called 'A Theatre for All Seasons' has been written to commemorate the reopening of the Theatre by Michael Hasted which you can find full details of here.

T.C. King, actor and Drury Lane Tragedian, and father in law to Arthur Lloyd was born in Cheltenham 1818

If you have any early programmes for this Theatre that you are willing to share please Contact me.