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 The
Lyceum is a building of outstanding national importance, architecturally
and theatrically. Its history is complex.
A public building
of this name stood on an adjoining site (now covered by Wellington
Street) in 1772, then a theatre from 1794 until Wellington Street
was formed, when a new theatre was built on the present site.
This opened in 1834. It was
for a long time managed by Sir Henry Irving
and was famous for its association with him and Ellen Terry
(their last performance in 1902).
The Crewe interior
is post-Irving and was intended to be a variety
house to compete with the Palace
and the London Coliseum but
it was not a success in this mode and soon reverted to drama.
It was purchased by the LCC in 1939 for demolition in connection
with a road improvement, later abandoned.
Leased to Mecca,
it became a ballroom. The abolition of the GLC in 1986 led to
a period of darkness and uncertainty, during which the London
Residuary Body sold a 125-year lease to Brent Walker before
transferring the freehold to The
Theatres Trust. They eventually negotiated a transfer of
Brent Walker's unexpired term to Apollo leisure, who set about
works of restoration and improvement. The theatre reopened in
1996 as a home for largescale musicals.
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 Despite
the fact that the symmetrical neoclassical composition was altered
at upper level by 1904 and the
domed attic lost, Samuel Beazley's 1834
facade and portico remain today as rare and valuable pre-Victorian
survivals The portico stands over the public footway (cff Haymarket)
and is a striking incident in the view up Wellington Street
from the Strand.
The Crewe theatre
occupied a wider plot than the earlier building and the portico
and entrance staircase are, as a consequence, offset from the
axis of the auditorium. The splendid foyer and staircase lead
now to Crewe's richly ornamented variety
house interior. The rococo-ornamented panel over the proscenium
is, perhaps, rather too deep for complete comfort, but the auditorium
must, nevertheless, be rated as one of the most flamboyant in
Britain.
 The
most striking alteration in the 1996 works was the total rebuilding
of the stage house to give flying height for the most demanding
modern productions. The old stage house was the result of a
patchwork of alterations and additions to the Beazley / Phipps
stage with further enlargement by Crewe
The new fly tower is, as it must be for a major musical house,
a landmark. The orchestra pit has been enlarged to a size suitable
for Grand Opera.
Right, above, and below: Images
from The 'Queen Of Hearts' Pantomime
Programme - December 26th 1938.
 Apollo's
initial auditorium decorations were criticised by some and the
renewed ceiling paintings are, undoubtedly, a touch raw and
startling, but this remains one of the most impressive reawakenings
of recent years and one which would have seemed highly unlikely
as recently as the mid 1980s. It is time that this building
was fully researched and an authoritative architectural account
published.
The
above text is reproduced with kind permission of The Theatres
Trust From their indispensable book: 'The Theatres Trust Guide
to British Theatres 1750-1950' John Earl & Michael Sell.
Available from the publishers, A&C Black (tel 01480 212666).
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The Romance Of London Theatres
By Ronald Mayes.
No. 45. The Lyceum
 The
site of the present Lyceum Theatre was occupied as early as
1765 by a building housing an exhibition of paintings. From
this sprang the Royal Academy. It was afterwards used for musical
entertainments given by Charles Dibden, and later as a circus,
brought by Astley when his amphitheatre was burned down at Westminster.
Between 1794 and 1809 it was used as a chapel, a concert room,
and for an exhibition of waxworks displayed by Madame Tussaud.
Between 1809 and 1812 it was
used for dramatic performances by the Drury
Lane Company after the burning of their own theatre, until
the erection of the new edifice.
In 1816, Samuel Arnold opened
it as the English Opera House, which was burned down in 1830.
Four years later the present building was erected and opened
under the title of the Theatre Royal Lyceum and English Opera
House.
In 1840, Balfe undertook the
production of National Opera, but despite its excellent chances
of success, this enterprise was a failure.
In 1871, Henry
Irving took over the theatre, and with his memorable performance
in "The Bells" in that year, the Lyceum entered into
a new Lease of life. "The Bells," with Irving as the
ghost-haunted burgomaster, played to overflowing houses for
150 nights. His next success was in "Charles I," in
the following year, which ran for 180 nights. This was followed
by "Hamlet," in which Irving's popularity reached
its greatest height. This great actor was associated with the
Lyceum for over 25 years and one of his first acts as manager
was to engage Ellen Terry for his productions.
December, 1885, saw the first
night of "Faust" - the application for reserved seats
would have filled twelve theatres, some thousands coming from
Germany alone.
Irving constantly left for tours in America, and the boards
were occupied by many famous people, including Forbes - Robertson
and -Mrs. Patrick Campbel, Sarah Bernhardt and Elennora Duse.
Martin Harvey, a pupil of Irving's played a season there in
1899. Coquelin, too, appeared
as Cyrano de Bergerac in the summer of 1898.
The history of the old Lyceum ends with 1902
when the interior was pulled down and reconstructed, the house
being opened for a while as a variety
theatre.
No account of the old theatre would be complete without reference
to the "Sublime Society of Beefsteaks," the famous
institution which had its home here for fifty years. It was
founded by John Rich and dissolved in 1867.
The members, who never exceeded twenty-four in number met every
Saturday night to eat beefsteaks and to drink port wine.
In recent Years the Lyceum has become the home of popular drama
for ten months in the year, and, even more popular pantomime
during the remaining two. The present attraction is "Merry,
Merry," the popular musical comedy presented by Messrs.
Clayton & Waller.
Above text and image from a 'Magazine Programme'
for The Aldwych Theatre - May
13th, 1929
Cuttings..
Lyceum
Theatre, Wellington-street, Strand—Has
recently passed into the hands of Mr. Irving,
who has for some years past been the leading actor and principal
attraction there. It is one of the prettiest houses in London,
and, while large enough to enable the poetical drama, even in
the case of the heaviest Shaksperean play, to be effectively
mounted, is not too large for the requirements of a modern audience.
It may be noticed that evening dress is more commonly in vogue
in the stalls and dress-circle here than at other theatres,
but there is no absolute rule. It is worth notice, too, that
the Lyceum, occupying a perfectly isolated position with a street
on each of its four sides, offers special facilities for egress
in case of alarm, whilst the saloon and lobby accommodation
is on an unusually handsome scale, only equalled by that at
Drury Lane. NEAREST Railway Stations,
Temple (Dist.) and Charing-cross (S.E.); Omnibus Route, Strand;
Cab Rank, Wellington-street.
Charles Dickens's
(Jr.), Dickens's Dictionary of London, 1879
See
also 'Down East and Up West' by Montagu Williams...
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