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Theatres and Halls in Hammersmith, London

King's Theatre - Lyric Theatre - Lyric Hall - Lyric Opera House

The Lyric Theatre, Lyric Square, King Street, Hammersmith

Formerly the Lyric Opera House / Lyric Hall, Bradmore Grove, Hammersmith

Above - The Lyric Opera House, Hammersmith - From an early programme for the Theatre printed in Diana Howard's 'London Theatres and Music Halls 1850 - 1950' and held at the Hammersmith Public Library

On Bradmore Grove, Hammersmith in 1888 a Music Hall was built to the designs of Isaac Mason called the Lyric Hall. This building had a very short life and two years later was reconstructed to the designs of F. & H. Francis & Sons and reopened as the Lyric Opera House on the 17th of November 1890.

Right - An early programme for the Lyric Opera House, Hammersmith - Printed in Diana Howard's 'London Theatres and Music Halls 1850 - 1950' and held at the Hammersmith Public Library.

Five years later the Theatre was again reconstructed, this time by the renowned Theatre Architect, Frank Matcham and reopened as the Lyric Theatre on the 20th of July 1895. The Theatre had a stage of 23' 10" wide and about 17' deep, and an auditorium capable of holding 800 people.

This new Theatre was so successful that in 1899 the building was again reconstructed and enlarged, especially front of house, again to the designs of Frank Matcham. The ERA printed a review of the new building in their 21st of October 1899 edition saying:

'Mr Acton Phillips's theatre, since its reconstruction from the design of Mr Frank Matcham, has received a very large amount of patronage from the local public, so much so that its accommodation has had to be increased, and this occurs principally in the additions to the front of the house.

At the rear of the dress-circle a large and handsome saloon has been erected, and this occupies the vacant space over the entrance vestibule and offices, &c. The saloon is fitted up and furnished in a most artistic manner, the ceiling being in raised decoration and the walls covered with leather paper, and the whole richly furnished and lighted by electricity. The approach to this room is by a wide staircase, the walls and ceiling being similarly decorated. A large retiring room has been added, fitted up with all the latest improvements.

Above - The Lyric Opera House, Hammersmith - From the ERA, 21st of October 1899 - Courtesy BF - To see more of these Sketches click here.

The exterior has been for some months in the hands of the builders. Their work now being completed, the result is as shown in the accompanying illustration. The old building, which used to fall back some distance from the main wall on the first tier, has now been brought forward, and it greatly enhances the appearance of the exterior. The front consists of yellow bricks pointed with red stone ornamentation. The handsome windows are provided with ornamented leaded lights. There is a quantity of elaborate iron work, and a graceful balcony at each end of the building. All the woodwork and doors are of "Post-office" red, which gives a warm appearance and harmonises with the stonework. The entrance hall is new, the walls being of Hendon stone and faience work, with ceilings of raised Cordova work delicately decorated. The whole of the entrance hall and the dress circle tier, from which the approach to the new saloon bar runs, have been handsomely adorned, and velvet curtains of a particularly rich terra cotta colour have been added.

Left - A Wartime programme for the Ballet Rambert at the Lyric Theatre, Hammersmith in a repertory of their original Ballets in September 1944.

Altogether the alterations have been a decided improvement to the front of the house, and have been completed from the designs of the well-known architect, Mr Frank Matcham, and under his supervision. The building work has been done by Messrs Chamberlain Brothers. Messrs Acton Phillips and Son are to be congratulated on the effect of the improvements in their pretty theatre.' Above text in quotes from the ERA 21st of October 1899 - Courtesy BF.

What is remarkable about the Lyric, Hammersmith today is that although it is still a functioning Theatre it is not actually on the original site in which it was built. After a public inquiry in 1969, the Theatre was demolished but the auditorium was preserved and then completely reconstructed inside a modern building in King Street, Hammersmith in 1979.

Consequently you may now enter through an unexceptional 1970s building and find yourself, two stories up, in Frank Matcham's 1895 Victorian Rococo auditorium.

Although the auditorium was recreated the dimensions were modified slightly to fit in the new shell. The proscenium was widened by about 4 foot and the height was extended to match. In fact the whole auditorium was then stretched to fit in with the new dimensions, including raising the ceiling, and new lighting positions were cleverly fitted into the ceiling, disguised by mesh where plaster would have previously been.

Right - The original auditorium of the Lyric Opera House, Hammersmith - Printed in Diana Howard's 'London Theatres and Music Halls 1850 - 1950' and held at the Hammersmith Public Library.

The auditorium of the current Lyric Theatre is built on three levels, Stalls and two circles, and can accommodate around 537. The stage has a proscenium width of 29 foot and a depth of 27 foot.

The Lyric also now includes a small Studio Theatre which can accommodate 120 people, and is often used for comedy nights and small scale music concerts.

You may like to visit the Lyric Theatre's own website here.

New Star Of The Ballet? by Herbert Farjeon

BALLET, ballet, ballet. As soon as one company leaves, another arrives.

Or, maybe, two arrive - as, last week, LUNCHTIME BALLET at the Cambridge, BALLET RAMBERT At Hammersmith Lyric.

Time was when we seemed able to think of ballet only in terms of Russia. Looking over my old articles I find one written in 1918 headed "A Plea for an English Ballet - The Need for a Permanent Institution."

I wish I could claim that and the Wells Ballet as cause and effect. For the Wells Ballet has no equal in England. Great were the days when you could see it for sixpence.

Right - Wartime programme for the Ballet Rambert at the Lyric Theatre, Hammersmith in a repertory of their original Ballets in August 1944. This article was found inside the programme.

'It Should Be Free'

At the New the cheapest Seats were a shilling. Sad but understandable. Now at the Prince's (where Helpmann and Fonteyn will follow the opera season) they have gone up to eighteen pence. In the name of Baylis, why?

In a properly civilised country it would be possible to enjoy the best ballet, the best drama, the best music free. Revolutionary? Hardly. We enjoy the best pictures free at our public galleries.

But as to the Rambert Ballet. Often it is charming. Don't miss "Jardin aux Lilas," a dark, delicate, emotional gem with thwarted love for its theme and costumes of supreme beauty by Hugh Stevenson.

Nor should you miss Sara Luzita. Mme. Rambert not only has trained but is training some of our finest dancers. Sara Luzita looks like becoming one. On the other hand, you may miss "Swan Lake Act II" - a sorry failure on a stage too small where huntsmen too stiff aim at swans far too galumphing.

Above text from a press cutting found inside a Wartime programme for the Ballet Rambert at the Lyric Theatre, Hammersmith in a repertory of their original Ballets in August 1944.

Revudeville at the Lyric Hammersmith

Above - A Programme for the Windmill Theatre's Revudeville, here being staged at the Lyric Theatre, Hammersmith during the management of Nigel Playfair in 1932 - Courtesy Maurice Poole.

The success of 'Revudeville' at the Windmill Theatre encouraged Laura Henderson to try out these Revues in other Theatres. In 1932 the Lyric Hammersmith staged a production of Revudeville, and in February 1937 the Piccadilly Theatre began showing 'Revudeville Pot-Pourrie' for a short time. A notice in the Windmill's Xmas Revudeville programme reads:

'Owing to the remarkable demand by provincial Theatres for Revudeville to be staged in their separate towns, Mrs. Laura Henderson has decided to embark on another project, and for the purpose has taken the Lyric Theatre, Hemmersmith for one month at which to start a No. 1 Touring Company of Revudeville. This has been produced entirely by Miss Eva Bradfield, who has been responsible for all the productions in the Windmill Theatre for the last seven months, and we can promise all patrons of this theatre who care to take a journey down to Hammersmith, an entertainment on considerably larger lines than that attempted here, and one which will be outstanding in every respect.'

The above mentioned Tour began on the 26th of December 1932 and ran for just 4 weeks. Vivian Van Damm wrote an article about this tour in a Windmill Theatre programme of 1932 which reads:

'I am receiving many letters from patrons all over the Country begging me to change my programme weekly of fortnightly, and much as I should love to be able to please all and sundry who make this request, I would ask you to realise what it means to put on an absolute and complete change of programme every three weeks, including as it does four new production numbers which take considerable time to devise and rehearse, and in addition a minimum of 67 new dresses have to be made for each show.

Right - A Postcard showing the Lyric Restaurant on Hammersmith Broadway

It certainly would be a marvelous thing for us if we could please everybody in this respect, but unfortunately at the moment that is not possible. One day however, judging by the way in which Revudeville is forging ahead in the esteem of the British public, I may be in a position to give you very good news regarding a further scheme, and whilst I am on this subject, I should like to take this opportunity of informing you that a complete new version of Revudeville, which is eventually going on tour, is being rehearsed and will be put on at the Lyric, Hammersmith (the house which Sir Nigel Playfair made so famous with "The Beggar's Opera") commencing on Monday, Dec. 26th, for four weeks only.

This production will be on the same lines as the present show we give here but with entirely different numbers and if you and your friends happen to be in that neighbourhood and want to have an hour or so of delightful entertainment, I can do no better than recommend you look to the Lyric, Hammersmith and see what we can do when we go out for a big show. The Lyric, of course, is a much larger theatre than the Windmill, and the show will naturally be on a bigger scale.'

Vivian Van Damm - From a Windmill Theatre Programme of 1932 - Courtesy Maurice Poole.

Kings Theatre, 178 - 180, Hammersmith Road, Hammersmith

Above - The King's Theatre, Hammersmith, from a postcard.

The King's Theatre, Hamersmith was built by W.G.R. Sprague and opened on the 26th December 1902 with a seating capacity of 3,000. The Theatre stood at 178 - 180 Hammersmith Road, which in 2005 is the site of a building called Kings House (numbered 174 Hammersmith Road) on the eastern side of the junction of Hammersmith Road and Rowan Road, and adjacent to Latymer Court. The Theatre was demolished in 1963. Kings Theatre site details courtesy John Hughes.

King's Theatre reaches its Golden Jubilee

FIFTY YEARS OF THEATRICAL HISTORY
By PHILIP J. BENNETT

(Reprinted from "The West London Observer, December 12th, 1952)

AT 1 p.m. on December 26th, 1902, The King's Theatre, Hammersmith opened its doors to the public for the first time with the pantomime "Cinderella."

During the 50 intervening years since that opening day, almost every British actor and actress of any claim whatsoever to fame has appeared on its stage.

Right - Programme for 'Cinderella' at the King's Theatre Hammersmith 1952 - Click for article by Lupino Lane on this production and biog.

Thumbing through, its programmes is like turning the pages of a theatrical "Who's Who."

Names that will never die, commencing with those giants of the Edwardian era, who today are still the yardstick by which Thespian talent is measured, are there in profusion.

Names like Beerbohm Tree, Sir Henry Lytton, Sir John Martin-Harvey, Matheson Lang, Sir Charles Hawtrey, Marie Tempest, Sir C. Aubrey Smith, Mrs. Patrick Campbell.

Names that were then, and still are, household words, familiar to us all.

During the years when musical comedy was in its heyday, the No.1 companies of George Edwardes and George Dance made frequent appearances at the King's Theatre and there were many seasons of Gilbert and Sullivan and the Carl Rosa Opera Company.

More recently the programmes carry the names of our modern stars -- Donald Wolfit, Ivor Novello, Noel Coward, Godfrey Tearle, Eileen Herlie, Fay Compton, Ruth Draper... but one could go on for a long time without exhausting the list of names covering every facet of the entertainment world. Names of plays that are still running and plays that have been long forgotten.

Right - Programme for 'The Courage of Silence' at the King's Theatre, Hammersmith - Week of May 22nd 1905

The programmes of this famous Hammersmith theatre are in very truth the pages of theatrical history.

Always noted for its adherence to the real pantomime tradition, the King's jubilee presentation of "Cinderella" will differ little in essentials from that first "Cinderella" in 1902. Many scenes are the same, and one of the featured attractions is still the "magnificent crystal coach drawn by real Shetland ponies." In this instance, the wording on both the first programme and the one for 1952 is almost identical.

An interesting link with the opening of the King's was disclosed when a Mr. Viner (now at Ongar, Essex) visited the theatre to book seats for a party for the jubilee pantomime. In conversation with the manager, it was revealed that his reason for doing this was a somewhat sentimental one.

When the actual construction was begun, Mr. Viner was the youngest employee of the contractors on the site and as such was chosen to lay the very first brick of the theatre, a distinction he now recalls with pride.

Left - Programme for 'Mary Rose' at the King's Theatre, Hammersmith Week of Feb 28th 1921.

A long-standing family connection between direction and management is also a noteworthy feature of the theatre. The present direction is in the hands of the Trustees of the late J. B. Mulholland, owner and founder. His son, Mr. J. V. Mulholland is the licensee, and the manager is Mr. Anthony Pigott, son of Mr. Thomas J. Pigott, general manager to J. B. Mulholland and the trust for 40 years.

Of recent years, the King's Theatre has been extensively used by the B.B.C. for live broadcasts and also for television.

Could some of those now dead and gone stars of the early days of the theatre peep in during a modern telecast. and discover that the production was being seen by millions of people in their own homes, they would assuredly think that black magic and witchcraft were rife in the modern theatre.

It may be interesting to our readers to learn what was written about the King's Theatre at its opening in 1902.

Referring to the pantomime, the 'West London Observer" of 26th December, 1902, says "Grand Fairy Pantomime 'Cinderella and the Little Glass Slipper' . . . on a scale of completeness and with a wealth of Gorgeous Scenery, Superb Dresses, Charming Effects, Magnificent Company, Beautiful Ballets and numerous auxiliaries." What more could one want?

Left and below right - Unusual programme cut into the shape of a pair of shoes for 'Goody Two Shoes' at the King's Theatre Hammersmith.

It was the first theatre to be constructed on the cantilever system, dispensing with all columns and affording an uninterrupted view of the stage from all parts of the house.

Press comments in 1902 on the building's amenities and architectural features were flattering and widespread, extending even to France where a Parisian journal carried quite a lengthy report on the opening.

This Hammersmith theatre was evidently something of a nine days' wonder when it first opened.

The 1952/53 production of "Cinderella" like that first one 50 years ago, will undoubtedly be a landmark in the long list of this famous theatre's pantomime successes and will be well worthy of the King's Golden Jubilee.

Text from a programme for 'Cinderella' with Lupino Lane at the King's Theatre Hammersmith, 1953. Images from my own collection - M.L.