The Theatre Royal, Hawkins Street, Dublin, Ireland

Introduction - The First Theatre Royal - The History of the first Theatre Royal (1874) - The Second Theatre Royal / The Theatre Royal Hippodrome period - The History of the second Theatre Royal (1935) - The Third Theatre Royal - The Theatre Royal's Frank Matcham Staircase - Mulligan's Public House - Fred Midgley, Musician - Final Closure and Demolition

Dublin Theatres Index

Above - The Original 1821 Theatre Royal in Hawkins Street, Dublin

There have been three Theatres built on the same site in Hawkins Street, Dublin over the years, all bearing the Theatre Royal name, the first was built in 1821, the second in 1897, and the third in 1935. The last Theatre on the site was finally demolished in 1962 bringing the Theatre Royal history to a close after 141 years of entertaining the people of Dublin. A chronological history of all the different incarnations of this Theatre can be read below.

The First Theatre Royal, Hawkins Street, Dublin 1821

The first Theatre Royal, in Hawkins Street, Dublin opened on the 18th of January 1821. It was built with money raised by debentures by Mr. Calcraft and had its own company, many members of which spent practically their whole professional life in the Theatre.

The Theatre was redecorated in 1858, the Builder reported on this in their 10th of April 1858 edition saying:- 'The Theatre Royal, Dublin, was re-opened on Easter Monday night after being thoroughly decorated and beautified, at an expense of, it is said, nearly £3,000. The Renaissance style has been adopted, and the ornamentation is elaborate. Statuary has been also introduced, and a new act-drop, by Mr. Telbin, painted. The chief artists employed were - for the Carton Pierre and Papier Mache; Messrs. Jackson and Son, London; upholstery, Messrs. Fry and Co. of Dublin; decorating, painting, gilding, &c. Quinlan and Son, Dublin ; chandeliers and branches, the Alliance Consumers' Gai Company; burnished gold pillars, Mr. Lombard; medallion portraits on ceiling, W. Morgan; trophies, Cuthbert and Hayes; emblematical figures designed by E. Corbould, and painted by Mr Telbin, jun.; the entire under the surveillance of Mr. John M'Curdy, architect. The ceiling is divided into eight compartments, in four of which are painted female figures, representing Poetry, History, Music, and the Drama.' - The Builder, 10th of April 1858.

On Saturday the 28th of March 1874 the final performance under the proprietorship of Mr John Harris took place, and then Messrs Gunn became the new owners. A report on this change of ownership and the history of the Theatre Royal and other Dublin Theatres can be seen here.

This first Theatre Royal in Hawkins Street was totally destroyed by fire on the 9th of February 1880.

There is more on the History of the first Theatre Royal, Dublin here.

The Second Theatre Royal, Hawkins Street, Dublin 1897

Originally The Leinster Hall - Later - The Theatre Royal and Opera House / The Theatre Royal Hippodrome and Winter Gardens

Above - The Auditorium and Stage of the Theatre Royal, Dublin of 1897 - From The Sketch, January 19th 1898.

The second Theatre Royal in Hawkins Street, Dublin was built on the site of the first which had been destroyed by fire on the 9th of February 1880. That destroyed Theatre had been replaced in 1886 by the Leinster Hall, but this was remodelled internally by Frank Matcham in 1897 and then reopened as the Theatre Royal and Opera House on the 13th of December 1897. The Theatre would later be renamed the Theatre Royal Hippodrome, details further down on this page.

Right - The Auditorium of the Theatre Royal, Dublin of 1897 - From The Sketch, January 19th 1898.

The ERA reported on the new Theatre Royal in their 11th of December 1897 edition saying:- The Theatre Royal, Dublin, was formally taken over from Mr H. H. Morel! last week by a new limited company, registered under the title of "The Dublin Theatre Company, Limited." The directors are Mr H. H. Morell and Mr Frederick Mouillot (Managing Directors), Mr Samuel C. Allen (of, David Allen and Sons), Mr Daniel D. Bulger and Mr David Telford, who are both Dublin citizens, the former being a stockbroker and the latter a chartered accountant. The first three directors mentioned are also on the board of "Warden, Limited," the company which runs the two theatres at Belfast.

The historic Theatre Royal, Dublin, now called for the first time the "Theatre Royal and Opera House," is rapidly approaching completion. Although situated on the site of the Royal, it is more immediately a conversion of the Leinster Hall. The four main walls and a large portion of the old roof have been retained, though above the stage and at the back of the gallery the roof has necessarily been raised to comply with the requirements of a perfectly modern theatre. Except in these respects however, the building has been completely transformed both inside and outside. The architect, Mr Frank Matcham, who has designed approximately 100 theatres and music halls, was instructed by the syndicate for which Mr H. H. Morell and Mr Fredk. Mouillot are the managing directors, to take Carte blanche in the matter, his instructions being to prepare the finest theatre that could be put upon the site, which is an extremely large one, measuring 206ft. long by 78ft. wide.

Left - A poster for a twice nightly Variety show at the Theatre Royal Hippodrome and Winter Gardens, Dublin for June the 16th 1919 - Courtesy Laurens Willard.

The seating accommodation is for over 2,300 persons, and, with standing room, would probably hold 3,000 persons, and, at the prices at present in force, approximately £300 in money. By the formation of a private roadway on one side of the theatre the entire building is entirely isolated. It has therefore been comparatively easy to provide two separate and distinct exits from each part of the house; and the ground floor abounds in exits. There are two separate ones from every part of the building, which is of fireproof materials; and the corridors are supplied with complete sets of hydrants and other fire-extinguishing plant...

Above - The Orchestra of the Theatre Royal, Dublin in 1913 - Courtesy Roy Stockdill who says: 'My grandfather, FRED MIDGLEY, is the young man seated far right on the front row (as you look at the photo) with a violin under his right arm and bow across his knees. I think he was probably the youngest member of the orchestra and would have been about 27 when this was taken. He played the Theatre Royal, Dublin for many years from about 1912.' Tom Milligan tells me that 2nd from left on the back row is Charlie Regazzoli, who appears in all three of these photos.

...The entire building is lighted throughout by electric light, and the of system is identical with that adopted by Mr Tree at Her Majesty's Theatre, this part of the work being under the supervision of Mr E. Wingfield Bowles. The electric light is run by a steam-engine which is very advantageously placed in an engine-house outside the main building, and this is a double engine to avoid the risk of a breakdown. Accumulators, which are kept stored, will supply the entire lights of the theatre for at least five hours, even should the engine entirely break down. There is, of course, also auxiliary gas in the sunlight, the border lights, and the floats, and in the passages and dressing rooms.

Right - A Variety Programme Cover for the Theatre Royal Hippodrome and Winter Gardens, Dublin for June the 19th 1919 - Courtesy Laurens Willard.

The exterior of the building has been very largely altered as it was necessary to form a number of new entrances and exits. Iron verandahs have been erected at the sides of the building to shield the parterre and gallery patrons from inclement weather. A large and handsome stone portico, which runs along the whole front of the building, is supported by eight bold Ionic columns and pilasters, with entableture over, and bold balustrading. It will be furnished with palms and shrubs, and will provide a large and attractive smoking promenade in the summer months...

Above - The Orchestra of the Theatre Royal, Dublin circa 1913 - Courtesy Roy Stockdill who says: 'A different photo and you will see there appear to be 19 players against 17 on the first photo. However, I imagine it must have been from around the same period because the double bass player is clearly the same man. My grandfather is seated in the front row, second man along (looking at the photo) between the cello player and the man I presume was the conductor.' Tom Milligan tells me that 3rd from left on the middle row is Charlie Regazzoli, who appears in all three of these photos.

...The entrance to the old Leinster Hall has been transformed out of recognition and has been reduced in area by the formation of two lobbies, and by giving the entrance three sets of double doors in polished mahogany. A grand vestibule has been formed, with box-offices, one either side, from which two very wide marble staircases ascend to a large foyer, from which the dress-circle is approached by three separate entrances. This foyer is paved in Mosaic, and has marble staircases leading from it to the grand saloon. It is decorated in heavy fibrous plaster-work, richly ornamented with gold, and with pictures and decorations specially painted by an Italian artist. It has five large mirrors, and the whole effect is one of splendour and brightness.

Right - A Variety Poster for the Theatre Royal Hippodrome for July 1916 - Courtesty Stephanie Mahon whose Grandfather John Mahon was a scenic artist at both the Theatre Royal and Queens Theatres in Dublin.

Under the staircase is recess fire-place built of Fience work, and the floors in this part of the building, where they are not marble, are in Ceramic Mosaic. In the centre of the foyer over the entrance the central panel is filled with an allegorical painting by Signor Beccuni. With the very artistic treatment it has received from the decorators, and with its rich plush draperies and velvet-pile carpets, satin settees, and brilliant electric light, this part of the building should have a palatial effect.

There is a large lounge at the back of the dress-circle where mirrors and drapery predominate. This space will be useful when the dress-circle is full, as a view of the stage can be obtained from it by some 200 people, as indeed it can be from every part of the house. Palms, vases, and ornaments abound in this section of the house.

Left - A Poster for 'The Kodak Girl' at the Theatre Royal Hippodrome for December 1917 - Courtesty Stephanie Mahon whose Grandfather John Mahon was a scenic artist at both the Theatre Royal and Queens Theatres in Dublin.

The old "minor hall" of the Leinster Hall has been transformed into a saloon of noble proportions, being some 50ft. long. The ceiling is domed to the height of 40ft., which should insure perfect coolness and ventilation. On one wide of this saloon is a ladies' drawing-room, where ladies are enabled to wait to meet their friends instead of being detained in a vestibule; and on the other side is a director's room. The ladies' drawing-room is very tastefully furnished in white and gold furniture with rich satin. The whole is in the Louie Quince style.

The dress-circle or balcony stalls accommodate nearly 300 persons, and have luxurious plush-covered tip-up chairs. At the back of the circle are four large private boxes, two on each side of the house. Each of these boxes commands a full view of the stage, and a nice ante-room is provided for each pair of boxes.

The other boxes are nine in number, and are in the usual places on the stage right and left. The odd number is caused by the fact that the Vice-Regal or Royal box is double the size of the others. To this box particular attention has been devoted. It has a private entrance and staircase, an ante-room and cloak-room, and lavatory accommodation.

Right - A Poster for 'Gay Paree' at the Theatre Royal Hippodrome for January 1918 - Courtesty Stephanie Mahon whose Grandfather John Mahon was a scenic artist at both the Theatre Royal and Queens Theatres in Dublin.

The whole of the floor of the house is furnished with tip-up chairs covered in plush. These seats may be booked for 2s.6d., or retained at the ordinary door at 2s., or at half price at 9'15 each evening. There are nearly 1,000 of them. This is perhaps one of the most important innovations that has been made in theatres for many years, and Mr Morell and Mr Munillot's experiment will be awaited with great interest. They are introducing the parterre system which has long been adopted in the majority of Americas theatres. The ground floor is carpeted and surrounded with artistically coloured tiles up to the height of about 5ft., above which there is a handsome rich red paper, and the ceiling is artistically painted.

The upper circle, the price for which will be 1s, contains nearly 700 seats, all of which are well upholstered. A neat arrangement has been made here, in connection with the saloon in this part of the house. A huge room has been arranged and divided by a screen about 8ft. in height, and it provides saloon accommodation for the gallery and the upper circle. There is a large gallery which has accommodation for about 800.

The ceiling is a triumph of architectural and decorative skill. It is designed by Mr Matcham, but Messrs Jonas Binns and Co. of Halifax, have applied some of the fine fibrous plaster work, and Signor Beccuni also deserves great credit.

Left - A Variety Poster for the Theatre Royal Hippodrome for March 1918 - Courtesty Stephanie Mahon whose Grandfather John Mahon was a scenic artist at both the Theatre Royal and Queens Theatres in Dublin.

The stage is exceptionally large. As the theatre has approaches on both sides of the stage and large doors, it is possible to drive a coach and four or conduct an elephant across the stage without turning either. The stage has a width of 80ft. and a depth of 68ft. There are two large property-rooms one above the other on the stage left, and the lights are controlled from a platform over the prompt entrance instead of on a level with the stage. The dressing rooms are large and numerous, and are fitted with hot water, cork carpets, and gas, the latter being preferred by artists to electric light.

As we have already stated, the theatre will open on Monday, Dec. 13th, with Geisha. The resident manager is Mr A. Wilfred Cotton, who has already conducted with success the Queen's Opera House, Crouch-end, and the Theatre Royal, Bournemouth.'

The above text in quotes was first published in the ERA, 11th of December 1897.

The Theatre Royal Hippodrome and Wintergarden period 1908

The Theatre Royal and Opera House had first opened on the 13th of December 1897 but it wasn't long before it was reimagined as a Variety Theatre under the name of the Theatre Royal Hippodrome which was started around 1908 and lasted for many years until around 1927.

The Theatre was run in conjunction with the Winter Gardens next door. A photograph of the orchestra during this period can be seen below and posters for it can be seen right and above.

Right - A poster for a twice nightly Variety show at the Theatre Royal Hippodrome and Winter Gardens, Dublin for June the 16th 1919 - Courtesy Laurens Willard.

This second Theatre Royal in Dublin was demolished in 1934 to make way for a third Theatre Royal which opened on the same site the following year, 1935, see below.

Above - The Orchestra of the Theatre Royal, Dublin in the 1920s - Courtesy Tom Milligan who says: 'My grandfather, James Douglas (back row, 5th from the left) was a trombonist in the Theatre Royal Orchestra in Dublin. 1st on the left on the back row with the Clarinet is Charlie Regazzoli, who appears in all three of these photos. Joe Keeffe is the trumpet player, back row, 4th from the left (beside the trombonist, my grandfather). Bobby Bolton, conductor, is front row, 3rd from the left.'' - Tom Milligan. And Roy Stockdill says he is pretty certain that his grandfather, FRED MIDGLEY, can be seen second from left in the front row, seated between the lady cellist and the conductor, he left the Theatre Royal Orchestra in April 1929 so this dates the photo as being 1920s, Fred Midgley can also be seen in the other orchestra photos on this page. Brian Boardman says that his Grandfather Henry Boardman is the chap with the Double Base.

The Third Theatre Royal, Hawkins Street, Dublin 1935

Above - The third and final Theatre Royal in Hawkins Street, Dublin - Courtesy McLaughlin & Harvey Ltd From their 'Centenary booklet 1853 - 1953'

The third Theatre Royal, in Hawkins Street, Dublin arose on the site of the second and opened on the 23rd of September 1935. This third Theatre was designed by the architect, Leslie Norton and had an Art Deco exterior and, in contrast, a Middle Eastern Moorish interior. This Cine Variety Theatre was huge, accomodating up to 4,000 people, and had a 40 foot stage depth, fitted with a large screen for Cinema use.

Right - Souvenir Programme for the opening of the third Theatre Royal, Hawkins Street, Dublin on September 23rd 1935.

The Kinematograph Weekly reported on the opening of the Theatre in their 26th of September 1935 edition saying:- 'Claimed to be the most up-to-date theatre in Europe, the new £250,000 Theatre Royal, in Hawkins Street, Dublin, with its seating accommodation for 4,000 patrons, was opened on Monday night by Sean Lemass, State Minister for Industry and Commerce. With him on the platform was Ald. Byrne, Lord Mayor of Dublin, and Coun. John McCormack.

After an attractive variety programme, including a revue and "Irish Melodies," an Irish film depicting the beauty spots in Ireland, there was a reception and dance. The civic and social side of Irish life was represented in the gathering, and members of the Diplomatic Corps were present.

Congratulations

In formally opening the theatre on Monday night, Mr. Lemass congratulated the city of Dublin on the possession of such a fine theatre which had cost a quarter of a million pounds to construct, and congratulated the management on their enterprise. He mentioned that 90 per cent of the material used in the building was Irish.

J. McGrath, the manager, thanked the Minister for performing the opening ceremony and handed the Lord Mayor a cheque for £200 on behalf of the management of the theatre to be used for the benefit of the poor of Dublin in any way the Lord Mayor wished.

The initial programme was then begun. It was of all-round excellence, the Irish tenor, Danny Malone, meeting with great reception. For the opening production the management was fortunate in securing the services of Francis Mangan, who has produced notable dancing and musical films in Hollywood.

The house boasts of a wide and deep stage and possesses the last word in acoustic properties as testified to by John McCormack, the world-famous tenor, at an inspection of the building by the Press and some friends of the directors, at which the eminent vocalist delighted the audience, small as it was, with a song in the hall.

To Present Grand Opera

Above - The Auditorium of the 1935 Theatre Royal, Dublin - From the Dublin Gazette.

Grand opera, musical comedy, drama, celebrity concerts, and films will all find a place in the programmes of this theatre de luxe. The construction work was begun only a year ago; the superstructure is carried on steelwork "Grillage"; over a million and a half bricks were used in the construction of the building and some of the walls are 100 ft. high. The general building of the theatre was carried out by Messrs. MeLaughlin and Harvey, of Dublin. Leslie Norton, the self-taught architect, was assisted in the designing of the theatre by Messrs. Scott and Good, architects, of Dublin.

Above - A Seating Plan for the 1935 Theatre Royal, Dublin - Courtesy John Findlater.

Elaborate precautions against fire include the installation of hydrants, sprinklers and fire curtain in keeping with modern civic requirements. Another feature of the stage-end of the construction has been the provision of adequate and well-ventilated dressing-rooms for artistes, a bathroom being incorporated in each dressing-room block.

In Control

The theatre is lit by a scheme of concealed luminants and the decoration of the walls has been made to tone with the gradually diffused lights. The new Royal is run by the Dublin Theatre Co., whose directors are J. E. Pearce. F. W. Moore and H. Moore. Gerald Ellis, A.S.A.A., is secretary of the company, and Desmond Rushton, director of publicity. John McGrath, who recendy opened two theatres in England, is the manager. He was formerly with the Savoy Cinemas. of Dublin and Cork. The contracting firms include J. Jeffreys Co. Ltd. Ventilating; Shaw's Glazed Brick Co., terra cotta work; Thos. Cook, Ltd., terrazzo work; Knight & Co., fire curtain and disappearing footllights; W. J. Furse & Co., orchestra and passemger lifts, counterweighting; Universal Metal Lathing Co., metal lathing; Bairds Ltd., plumbing; Clarke, Vigilant, Ltd., sprinklers and hydrants. Strand Electric, stage lighting; Siemens-Schuckert. Ltd., internal telephones; John Compton Co., Ltd., organ; A. G. Bruty, electrical engineer; Photophone. Ltd., recording system, private theatre; Western Electric. Ltd.., reproduction system; Nash and Hull, neon lighting; Lumley and co., bar fittings; automatic ticket issuing machines; Elliman and Sons, seatings, floor coverings, lounge furnishing.'

The above text in quotes was first published in the Kinematograph Weekly, 26th of September 1935.

Having opened in 1935 this vast Theatre succumbed to the pressures of other media such as Television and was only open for 27 years before being closed on June the 30th 1962. The Theatre was then subsequently demolished. More on this below.

There is much more information and many images of the third Theatre Royal further down on this page.

Right - The programme for the last performance at the Theatre Royal Dublin on Saturday the 30th of June 1962. The Theatre was subsequently demolished - Programme courtesy Margaret (Peggy) Crosbie whose husband, Paddy Crosbie, was on the Bill.

N.B. There was also a Theatre Royal in Smock Alley, Dublin which was the first custom built theatre in the city. It opened in 1637. The Theatre Royal, Smock Alley was demolished and rebuilt in 1735 but finally closed for good in 1787.

Above - The programme for the last performance at the Theatre Royal Dublin on Saturday the 30th of June 1962. The Theatre was subsequently demolished - Programme courtesy Margaret (Peggy) Crosbie whose husband, Paddy Crosbie, was on the Bill for the production along with Jimmy Campell and the Theatre Royal Orchestra, Frankie Blowers, Peggy Dell, Royalettes, Jimmy Campell Singers, Cecil Sheridan, Mickser Reid, John Molloy, Derry O'Donovan, Alice, Dalgarno, Babs de Monte, Cora Cadwell Dancers, and guests; Frankie Blowers, Paddy Crosbie, Val Fitzpatrick, Frank Howard, Jimmy O'Dea, Milo O'Shea, Edmund Browne, Danny Cummins, Pauline Forbes, Josef Locke, Harry O'Donovan, Jack Cruise, Ursala Doyle, Vernon Hayden, Sean Mooney, Noel Purcell, Mickser Reid, and Cecil Sheridan.

The History of the Theatre Royal, Dublin

From a Souvenir Programme for the opening of the new Theatre Royal on September 23rd, 1935 'Dedicated to the entertainment of the people of the Irish Free State, and to the visitors from all countries.'

With the opening of the New Theatre Royal in this year of Grace, 1935, a new page is turned in the history of entertainment in Ireland, and the sigh of regret at the passing of the famous building it has superseded will be drowned in the exclamations of wonder at the New Theatre.

Right - The 1935 Theatre Royal Frontage - From the opening night Souvenir Programme.

Since 1821 when the original theatre on this site opened its doors, the citizens of Dublin have looked to the House in Hawkins Street as the chief provider of Entertainment in the Capital.

Long before 1821 the building of the Theatre Royal had been contemplated. It was in the year 1788 that an Act was passed to regulate the Theatre Royal. Dublin, but the building did not materialise until 33 years later. When the Charter was passed the population of Dublin in the meantime had risen from 114,616 to 175,585.

Left - The second Theatre Royal, Hawkins Street, Dublin From the opening night Souvenir Programme of the 1935 Theatre Royal.

However, the Royal opened its doors with a flourish on the 18th January, 1821 and was made the occasion of a civic celebration attended by all the "nobility and gentry."

During the opening year of its career George IV. who landed at Howth, on his visit to Ireland attended a performance and the theatre was honoured with the Lord Chancellor's Patent on this account.

Right - Pit Tokens as used in the original Theatre Royal.

The old Theatre was built with money raised by debentures by Mr. Calcraft, and had its own company, many members of which spent practically their whole professional life in the theatre.

This building experienced varying fortunes and survived many vicissitudes and exciting incidents until 1880, when it was totally destroyed by fire. Luckily it was nearing the opening hour and the audience had not yet assembled. A boy with a taper was lighting the gas jets-which by this time superseded the oil lamps. Suddenly there was a loud explosion, a scream, and the curtains of the Viceregal Box burst into flame. A careless plumber had unscrewed a gas bracket and had not closed the pipe. A rapid escape of gas and the lighted taper did the damage! Francis Egerton, (See Note below) the business manager tried to bring the stage fire-hose into operation, but it was out of order and by the time it had been adjusted the flames were attacking the stage. In vain did young Charles Hyland appeal to Egerton to save himself, but Egerton stuck to his post and was never seen again. Ten minutes after Hyland escaped, the stage was a living flame!

Right - The 1935 Theatre Royal Frontage - From the opening night Souvenir Programme.

But even after the fire of 1880 the Royal was destined to live. In 1886 the Leinster Hall was erected in its place, and subsequently in 1897 the Theatre Royal standing on the site of the old theatre reopened its doors.

A point worth noting is that the statue of Hibernia which filled the niche over the doorway of the Theatre Royal in 1876 is to-day placed over the entrance to the General Enclosure in the present showyard at Balisbridge. Since 1897 the recently demolished theatre had provided consistently good entertainment for its patrons. Every type of presentation from pantomime to variety has pleased patrons for over a century since its inception, and the most famous European Artistes have given of their best.

With such a colourful history it is our intention that the Theatre Royal to-day will add an even greater lustre to its already splendid traditions.

Please note that the above text mentions Francis Egerton when it should say Henry Egerton. Des Kerrins writes: 'I have checked the old files of the Irish Times [IT] newspaper and it is clear that he was known as Henry Egerton. It seems that he was an extremely well respected and popular gentleman who gave his life in a heroic effort to save the Theatre Royal. He was the Stage Manager and also the Business Manager working for Mr Gunn. Incidentally Gunn also owned or leased the Dublin Gaiety Theatre at the same time.

The fire took place on Feb 9th 1880 and absolutely destroyed the theatre. Egerton was last seen in or around the Vice-Regal Box attempting to fight the fire with a stage hose-pipe. On Feb 12th the IT reported that his body had not yet been recovered and that his brother-in-law, William Glover from Glasgow had arrived in Dublin. Glover was a well-known landscape painter from Glasgow. We are also told that Egerton was a native of Glasgow and was well known there also. In fact the Glaswegian newspapers also reported on the fire and death of Henry Egerton.

Henry's wife was Amy Glover [sister to William] and they had 3 children, a boy named Charles and 2 girls. There is no mention of his wife and children dying in the fire. Egerton's first wife Grace however, died in another theatre fire trying to save two children from the flames during a pantomime. I don't know where this happened but it may have been in Glasgow and I also don't know if the 2 children survived. This death was recorded in the Glasgow papers. Egerton was stage manager at the Glasgow Theatre Royal, Dunlop St, for Mrs Edmond Glover about 1863. At another time he was leesee of the Leeds Amphitheatre along with Mr W. M. Foster. The IT reports that up to the end of Feb 1880 his body had not yet been recovered from the ruins and even on the 16th Feb the bricks being excavated were too hot to handle! The Fire Chief in charge of the fire fighting was Mr Ingram whose grandchild was the famous Hollywood director Rex Ingram. I have no info about when the body was recovered, if ever, and it may be that he was never found. A Charitable fund was set up with a committee of gentlemen and money was raised for Egerton's family. Des kerins.

Policy and Management

The policy of the Management of the NEW THEATRE ROYAL is to present to theatregoers Grand Opera, Musical Comedy, Drama and Variety under conditions which have never before obtained in the theatrical history of the Irish Free State, and, in fact, are not excelled elsewhere. Every encouragement will be given to local Artistes, and, in addition, the finest talent it is possible to procure from all quarters of the globe - regardless of expense - will be engaged and presented to patrons under the most favourable circumstances and the most luxurious surroundings. Profiting by the past and present theatrical scientific research the Management will be in an advantageous position in offering theatrical productions which have never been surpassed, in lavishness, lighting or entertainment value.

Right - Mr J. E Pearce, chairman and Managing Director of the Theatre Royal.

It is to the daring vision of the controlling genius of Mr. J. E. Pearce, the Chairman and Managing Director, that we owe the magnificent enterprise represented by the New Theatre Royal. Associated through accountancy with the earliest cinema and film ventures and the amusement field, Mr. Pearce, of Ayesha Castle, Killiney, Co. Dublin, is also responsible for the cinematic triumphs of the Savoy, Dublin, the Savoy, Cork, and the Savoy, Limerick, now rapidly approaching completion.

The Resident Manager of the New Royal, Mr. J. McGrath, needs no introduction to the Dublin public. His Irish birth - he comes from a well-known Roscommon family and his wide experience of the theatre and cinema world make him a most acceptable choice for his present position.

From the inception of the Savoy Cinema, Dublin, he was its House Manager, and later became Manager. When the Savoy Cinema, Cork, was built, Mr. McGrath opened it and managed it for two years.

His policy with regard to the Theatre Royal is to present at popular prices the cream of talent in the finest entertainment it is possible to secure.

The Theatre Architecture and the Architect

Theatre Architects

The skillful planning and construction of the magnificent theatre which opened its doors this evening is due to the brilliant and untiring energy of Mr. Leslie Norton, the architect, ably assisted by Messrs. Scott & Good, of Dublin.

Mr. Norton has had very wide, varied and specialised experience in theatre designing and planning in every part of these Islands, and the building of the Theatre Royal stands as his latest and crowning achievement.

Right - A Street Sculpture depicting a Theatre Usher called Mr. Usher, who is pointing with his torch at the site of the former Theatre Royal on Hawkins Street, Dublin, photographed in March 2009 - Courtesy Des Kerins, whose Uncle worked at the third Theatre Royal.

The striking front elevation of the Royal has been designed as the embodiment of a Modern Palace of Entertainment. The sculptured figures on the facade so exquisitely carved by Mr. Laurence Campbell, the young Irish sculptor, representing Eire the central figure on her left a Celtic Warrior and on her right the Celtic Muse of Imagination.

The cornice is surmounted by four giant masks representing Comedy, Tragedy, Drama and Burlesque. The facing of the main structure is in dazzling white cement stucco designed specially to throw the ornamentation into relief.

The interior of the Theatre

A richly lavish Moorish architectural scheme has been adopted for the decoration of the auditorium which is based on authentic details from the Alhambra at Granada in Spain. This has involved considerable research and many drawings had to be made in order to obtain the basis for the decorative scheme.

Those who cherish happy memories of the old Theatre Royal will be intrigued to find that the marble balustrade of the famous old Grand Staircase has been cunningly incorporated on both sides of the proscenium ends of the Balcony, a concession to sentiment and a gesture that should finally dispel any remaining regrets at the disappearance of this notable feature of the old building.

Right - The Moorish interior of the 1935 Theatre Royal.

The New Theatre, with its up-to-date stage and lighting equipment is augmented by a modern projection room, working in conjunction with the lighting devices.

The Theatre Royal Orchestra

One of the most important components of theatrical entertainment is the orchestra on which depends the musical background of all stage presentations, whether they be Operatic, Musical Comedy or Variety Acts. We have pleasure, therefore, in announcing that Mr. Jimmy Campbell, who is already a popular Dublin favourite, both on account of his entertaining personality and artistic versatility, will be the Conductor of the Theatre Royal Orchestra.

Mr. Campbell commenced his musical career at the Scala Cinema, South Shields at the age of 18, and later broadcast for the B.B.C. for two-and-a-half years as a solo violinist from Newcastle. Engagements in Sunderland (where he introduced Stage Presentations) and Preston followed.

Right - Jimmy Campbell, conductor of the Theatre Royal Orchestra.

By this time he had formed his own Orchestra and had developed a talent for orchestration and original musical arrangements which brought him finally to London and the Prince's Theatre, Shaftesbury Avenue. He had now formed a Symphony orchestra and his experience had deepened and widened.

It is due to his faculty in selecting, almost at sight, musicians who he feels, have the material for good team work in an orchestra that he has been able to select and train from local Irish talent the fine orchestras which have been chosen for both the Theatre Royal and the Regal Rooms, which represent the pick of Irish musicians. He is equally at home interpreting both classical and modern compositions and has a keen sense of modern rhythm.

The Theatre Royal orchestra consists of twenty-five highly skilled musicians.

The orchestra pit is built on a special electric lift so that it can ascend to stage level at the touch of an electric button,.

THE OPENING CEREMONY

An Appreciation

We feel it a very great honour that a leading Minister of the Government, Mr. Sean Lemass, Minister of Industry and Commerce, has courteously consented to perform the opening ceremony of the Theatre Royal. It sets the seal of state approval to an enterprise which is intended for the public stimulation and entertainment. It is fitting too that the Government and its Ministers should be interested in an enterprise which has given so much employment to Irish labour in its construction and will continue to give permanent employment to its large personnel.

Supporting the Minister of Industry and Commerce in this opening ceremony is, appropriately enough, the Right Hon. The Lord Mayor, Dublin's beloved First Citizen, without whom no public function would be complete, and Count John McCormack whose magnificent voice, and endearing personality has contributed so much to Ireland's fame all over the world.

Left - The 1935 Theatre Royal Frontage - From the opening night Souvenir Programme.

The opening of the New Theatre Royal marks an historic landmark in Ireland's theatrical history. New standards will be set in the domain of entertainment which have hitherto never been attempted.

It is fitting also that on this occasion representatives of leading public bodies, and the leading citizens of Dublin have expressed their appreciation by their presence.

To the many public officials whose helpful co-operation has made the opening of this great theatre possible, to the artists, craftsmen and artisans whose service, loyally and labour have brought about such magnificent results - to all we return our most cordial thanks.

THE OPENING PRESENTATION

"The New Royal Revue."

Produced on a lavish scale hitherto undreamed of, "The New Royal Revue" is presented by Francis A. Mangan, the talented Irish-American whose flair as a producer has made him celebrated in many parts of the world. Although Mangan's stage presentations are a novelty to Ireland, they are famous throughout Great Britain and the Continent, including France, Spain and Switzerland.

Colour blending, both scenic effects and lighting, play an important part in these productions, as well as the actual talent, and, of course, the famous troupes of dancing girls, both classical and jazz, who have danced their way into the hearts of the public from one end of Europe to another, need no mention.

Left - The Mangan Dancing Girls at the Theatre Royal Dublin.

In addition to the lavish splendour of the scenes provided by both the Mangan Corps de Ballet and the beautiful Mangan Dancing Girls, some of the leading stars of the Variety stage contribute specialty acts. Included amongst which are the internationally famous dancers Iris Kirkwhite and Keith Lester, The St. Helier Sisters, Daroll Richards, Alphonse Berg with his magical fashion creations, Danny Malone, the Irish Street Singer, who sung his way to fame almost overnight, the Three Diamond Brothers, Senator Murphy - one of America's foremost political comedians, and Joe Jackson - the Eccentric Clown.

THE NEW ROYAL REVIEW" - as a glance at the programme overleaf (Shown Below) will reveal, has been planned to make use of the magnificent resources of the stage equipment, lighting and scenic effects to their utmost. As spectacle after spectacle is unfolded beyond the proscenium arch, Dublin theatregoers will have an opportunity of witnessing a singular triumph of production and stage management.

Above - The New Royal Review - From the opening night Souvenir Programme of the New Theatre Royal, Dublin on the 23rd of September 1935

COMING ROYAL ATTRACTIONS

For next week the stupendous attraction "Radio New York" with Will Mahony, America's most versatile and dynamic comedian of the stage and screen - the personification of exuberance - at the top of a bill featuring America's Stars of the Air in person. The cream of the world's variety and radio artistes headed by the inimitable Will includes Evie Haves, crooning star, Joe Griffin, famous Irish American Tenor, Bob Garr, American Radio pianist. The 12 Tiller Girls, Lennox and Lorrana in "Rhythmic Burlesque," Omar the Dance Sensation, Ernest Shannan in "Radio Diversions" and the famous radio musical ensemble The Six Green Brothers.

Right - Prices and details of the Theatre Royal, Dublin.

To give you an idea of some of the marvelous shows which have already been booked for your delectation, we submit with pride the following:

"Stop Press" with Phyllis Monkman and Star Cast.

"Leicester Square Looks Round"

" Cari Rosa Opera Company."

"Alfredo and His Band."

"Streamline."

"Waltzes from Vienna."

The Celebrity Concerts

We have the honour of announcing that the famous series of International Celebrity Concerts have been booked as coming attractions for the Winter Season,1935-36. They will once more enchant you in their old home the TheatreRoyal.

For very many years past, Dublin music lovers have shown their appreciation of the renowned artistes who have thrilled them with their unsurpassable performances.

Right - Celebrity Concerts at the Theatre Royal, Dublin - From the opening night Souvenir Programme of the New Theatre Royal, Dublin on the 23rd of September 1935

Left - Details of the International Celebrity Concerts at the Theatre Royal, Dublin for the Season 1935-36.

This year an even greater galaxy of International Stars have been engaged to make the Celebrity Concert Season more memorable and glorious in the musical history of the City, for music can best be appreciated in its most inspiring form in a worthy setting which will at once place the Artiste en rapport with his audience.

THE THEATRE ROYAL ORGANIST AND

THE MAGNIFICENT ORGAN

Mr. H. Alban Chambers, who will preside at the console of the superb Compton Organ, has had a distinguished musical career, his first appointment being official organist to Leeds Cathedral at the age of eleven in 1913. In 1919 he joined the music staff of Stonyhurst College where he remained until 1924, when he accepted an appointment as organist at the New Kinema, Leeds.

Right - Mr. H. Alban Chambers, organist at the Theatre Royal, Dublin - From the opening night Souvenir Programme of the New Theatre Royal, Dublin on the 23rd of September 1935.

Always an earnest student of music, he continued his studies which culminated in the degree of Bachelor of Music in 1925, followed by Associateship of the Royal College of Music in 1926, and Fellow of the Royal College of Organists in 1927-a three years' record! His reputation as a skilled musician had gone before him when he was appointed by the Paramount Company to their show theatre - the ASTORIA at Brixton in 1931-which position he has held until his present engagement.

THE NEW ROYAL ORGAN

The remarkable instrument which Mr. Chambers will control is the largest and most modern theatre organ yet built. It has an extraordinary range, and is equipped with the Electrone - the most advanced device in musical scientific research.

The Electrone does not rely in the production of its tone upon pipes, bells or any kind of musical device hitherto used, it is purely electrical. The sounds of this new feature are such that they blend remarkably well with the familiar theatre organ tone, and it improves the whole effect of the organ enormously. Besides the carillons, chimes and other special effects obtainable in this way, the organ includes almost every kind of musical sound known to the ear.

Right - Details of the Compton Organ at the Theatre Royal, Dublin - From the opening night Souvenir Programme of the New Theatre Royal, Dublin on the 23rd of September 1935.

All that is visible to the audience of this gigantic instrument is the specially designed, beautifully decorated and illuminated glass covered console, which has four manuals or keyboards. From this keyboard the organist controls his vast resources. As he selects stops or depresses keys to give him the tones he wants, electrical connections are made which are carried by the main cable to the organ chambers, of which there are two over the stage.

The credit for building the great Theatre Royal Organ must go to John Compton, head of the greatest firm of organ builders in the world

THE REGAL ROOMS AND ROYAL

LOUNGES

Attached to the Theatre Royal is the Regal Rooms Restaurant which has already made a sensational hit as being the smartest and most cosmopolitan rendezvous in Ireland.

It is under the management of Mr. Hugh Margey, who is widely known in restaurant circles, and is one of the youngest and most talented restaurateurs in the country.

Right - The 1935 Theatre Royal Frontage and the Regal Rooms - From the opening night Souvenir Programme.

Furnished, lighted and decorated with extremely good taste, one is impressed, on entering, with an atmosphere of quiet luxury. The tables are tastefully laid out - the array of table silver and shining napery being a mute invitation to dine in comfort. The Restaurant is licensed for wines and an excellent cellar is maintained.

A special feature is the Regal Tipica Orchestra which is under the direction of Mr. Jimmy Campbell, whose selection of musical programmes is made with unerring judgment to appeal to the most varied tastes.

Right - Mr. Hugh Margey, manager of the Regal Rooms Restaurant.

The Sunday Evening Supper Concerts have finally solved the old problem of what to do and where to go on a Sunday night.

The Bars and Lounge Equipment

Whether you are in the Stalls, the Grand Circle, or the Back Circle and Upper Circle, there is a special Bar on each of these floors. The Marine Bar, serving the Orchestra Stalls and Parterre, in veneered Australian Walnut and Black Beam timbering, is built under the Auditorium floor and involved excavation ten feet below the level of the River Liffey!

The Famous Royal Staircase

Leading to the Upper Circle Bar is a familiar link with the past, part of the marble staircase which adorned the vestibule of the old Theatre Royal. (More information on this staircase can be found here. M.L. )

The Tea Lounge

On the second floor is the Tea lounge richly carpeted in rose-pink. Here is the utmost in comfort for the patron who wishes to order tea, coffee, or light refreshments.

Above - The site of the Regal Rooms in 2011 - Courtesy Des Kerrins

Some Notable Features

One of the important problems to be faced in the modern theatre is that of ventilating and heating.

A "stuffy" atmosphere makes the most sparkling show seem dull, and, cold, draughts, on the other hand, make for acute discomfort.

Once more the services of the scientist are called in and we discover that air must be washed and purified and distributed through the theatre so that the atmosphere remains clear and stimulating to the theatre patron.

So we have, therefore, equipped the Royal with an "Air Laundry" in which the whole of the air used for ventilation is washed by passing it through a water mist. The dusty air is thoroughly washed and then dried by passing through a series of specially corrugated plates which separate all the free moisture. The washed air is then forced into the Theatre through large steel ducts, and is distributed to the various parts of the auditorium.

Right - The 1935 Theatre Royal Frontage - From the opening night Souvenir Programme.

It may interest patrons to know that for their comfort millions of cubic feet of fresh, washed air are delivered to the Theatre every hour.

Every few minutes during the performance patrons will possibly be unconscious of the fact that all the "used air" is being steadily extracted by means of powerful fans and discharged outside - as the fresh pure air pours in to replace it.

In Winter the air is heated by means of large heating batteries to give the necessary warmth to the building.

This equipment has been carried out by J. Jeffreys & Co., Ltd., who are associated with Messrs. McCann, Ltd., of Dublin. The whole of the installation has been carried out by Irish labour, and is not only the most extensive, but also the most modern so far installed in any theatre in Europe.

A Wizard of lighting and the Instruments of his Art

An artist of draping, great inventive power, a genius at scenic effects and artistic lighting who started as a call boy and worked his way up to becoming the Little Napoleon of Stage Management, such is James S. Charters, Stage Manager of the Theatre Royal, whose most recent record was made at the London Palladium in some of the most spectacular presentations offered to the theatre going public.

Mr. Charters has had an adventurous career in his stage work, and has been specially engaged on account of his natural talent for stage settings, lighting and effects by the leading stars of the variety world including Archie Pitt, Gracie Fields, etc., and has also been honoured by four Royal Command Performances.

Right - Mr. James S. Charters, Stage Manager of the Theatre Royal, Dublin.

Let us go behind the scenes with Mr. Charters and see some of the electrical marvels which will be at the disposal of this wizard of lighting. The Strand Electric & Engineering Co., the well-known lighting specialists are responsible for the installation. There being a unique link between this firm and Ireland, as Mr. Philip Sheridan (Managing Director and founder of the firm) is a Dublin born Irishman who was apprenticed to a Dublin Electrical Company in 1880.

The equipment consists of a Stage Switchboard and Dimmer Regulator, controlling Footlights - Battens - and Auditorium circuits, etc., duplicate control of which is provided in the Operating Box.

The Battens and Footlights are of the famous "Sunray" Magnet design reflectors, and interchangeable colour frames. In addition there is a multiplicity of mobile lighting units.

Twelve 1,000 watt Spotlights project from the Spot Chamber in the Ceiling onto the Fore Stage, to generally augment the illumination in this Important area.

The Lighting System

MESSRS. R. G. Bruty in conjunction with Mr. A. J. Pemberton are responsible for the general illumination scheme of the theatre. Mr. Pemberton the well known theatre lighting and engineering specialist has been intimately associated with the problems of theatre lighting since 1905. Nearly forty leading cinemas and theatres owe the success of their lighting systems to his efforts. He regards the Theatre Royal installation as the most comprehensive and best equipped of all in his varied experience.

The general illumination is in the form of concealed lighting, the lighting units being fitted into the plaster features with suitable reflectors to give an even diffused effect.

The Entrance Hall, Vestibule, lounge Bar, Main Foyer and Waiting Space, Tea Lounge and Foyer are all treated in this manner, with exquisite results from a lighting point of view.

The main lighting scheme in the Auditorium is atmospheric, the lighting units being arranged in the main alcoves of ceiling and in the ceilings of Royal Circle and Stalls.

In addition to which we have to include the Neon Lighting installation and Flood light equipment for front of house display.

The Sound Equipment

Patrons of the Theatre Royal will be pleased to know that the new Cinema Wide Range reproducing system has been installed in this theatre.

Wide Range is the latest improvement developed by the Western Eclectic engineers.

The enormous advantages to be gained with Wide Range are that it not only creates a greater intimacy between the audience and the screen artiste, but that all the sound variations of speech and music are faithfully and naturally reproduced.

Orchestral music, when reproduced on this system, shows a remarkable improvement. The individual instruments are heard in their true perspective and with all their original brilliance.

The above text and images are from the opening night Souvenir Programme of the New Theatre Royal, Dublin on the 23rd of September 1935.

Closure and Demolition

Above - The site of the Theatre Royal, Hawkins Street, Dublin in 2011 - Courtesy Des Kerrins

The Theatre Royal succumbed to the pressures of other media such as Television and was finally closed on June the 30th 1962 and subsequently demolished for the building of a 12 story office block on the site. The Belfast Telegraph reported on this in their 30th of June 1962 edition saying:- 'Dublin's Theatre Royal is closing down after to-night's performance, and the work of demolition will begin in July in preparation for the erection of a modern office building of 12 storeys on the site of the present theatre. Every seat in the Royal, which is the largest theatre in the Republic, has been booked for to-night's final performance.' - The Belfast Telegraph, 30th of June 1962.

Another historical report on the Theatre Royal and other Dublin Theatres can be seen here.

A Theatre Pub - Mulligan's Public House - By Des Kerrins

Above - Mulligan's Public House in February 2011 - Courtesy Des Kerrins

Although this photo of a Pub might not seem to be in any way theatrical, bear with me. Mulligan's was established in 1782 and was situated exactly opposite the Stage Door of the Theatre Royal. Although there were always a number of Bars in the 3rd Theatre Royal [and the 2 preceding theatres] if an artiste wanted a little bit of privacy when knocking back a pint then he simply crossed the street and slipped into Mulligan's. The Stage Doorman always knew where to find a missing artiste and no harm was done. I should also point out that the old Tivoli Theatre on Burgh Quay backed on to Mulligan's and the Queens Theatre was 1 minute away. So with all that in mind I can safely say that Mulligan's was indeed a "Theatrical Pub". Des Kerrins.

About Fred Midgley (1886-1966)

A musician who played at the Theatre Royal, Dublin in the early 20th century

FRED MIDGLEY was born in Bradford, Yorkshire, in 1886 and learned the violin so competently that he wanted to become a professional. However, his parents didn't think being a musician was quite respectable in Edwardian times, so insisted he got a "proper job" first! He trained as a bootmaker in Bradford and appears in a Bradford trade directory as such in the early 1900s. However, his determination to become a professional violinist won the day and he started playing in Theatre pit orchestras as a young man in his 20s.

He played at a number of Theatres in the north of England, including Liverpool and Morecambe, and the Theatre Royal, Dublin. I understood from my mother that he sometimes commuted on the ferry between Dublin and Morecambe to play engagements in the orchestras at the Theatre Royal and the Tower, Morecambe.

Right - Fred Midgley and the orchestra at the Tower, Morecambe in 1929 - Courtesy Roy Stockdill who says: 'My grandfather is third from left on the front row.' Tom Milligan tells me that 3rd from left on the front row is Charlie Regazzoli, who also appears in the three TR Dublin Orchestra photos higher up on this page.

Returning to his native Bradford near the end of the 1920s, he joined the orchestra at the Alhambra Theatre and became lead violinist, playing for many years in the annual Christmas pantomime which was famous as one of the biggest in the north when the Theatre was operated by the theatrical impresario, Francis Laidler. The pantos continued throughout World War II and my grandfather played for them until the war ended and then would go home and "do his bit" as an ARP warden. He used to play for the pantomime between Christmas and Easter and would then go and join the orchestra at a Butlin's holiday camp for the summer months, usually at either Filey or Skegness. He and my grandmother lived in Pudsey, a Yorkshire mill town midway between Leeds and Bradford, and in between his stints in the Theatre and Butlin's orchestras I can remember him filling in for a week or two as a boot repairer, helping out in his old trade, so he never forgot that early skill either!

He was a delightful man with a great sense of humour and I loved him dearly. He was still working at the Alhambra until about 1960, well past normal retirement age, and died in 1966, aged 80.

The above text and image are courtesy Roy Stockdill, 2014.