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The Royalty Theatre, 73 Dean Street, Soho

Formerly - Miss Kelly's Theatre / Royal Soho Theatre / Soho Theatre / New English Opera House/ New Royalty Theatre / Theatre Francais

Above - A Google StreetView Image of Royalty House which was built on the site of the Royalty Theatre - Click to Interact.

The Royalty Theatre was situated at 73 Dean Street, Soho, and originally opened on the 25th May 1840 as Miss Kelly's Theatre and Dramatic School.

Far Right - The Royalty Theatre in 1913 - From 'The Lost Theatres of London' Raymond Mander & Joe Mitchenson - 1968 edition.

This Theatre should not be confused with the Royalty Theatre, Kingsway which was built on the site of the old Stoll Theatre and is now called the Peacock.

Right - A Programme for 'The Chili Widow' at the Royalty Theatre in 1896. This production reopened the Theatre on the 7th September 1895 - Click to see the entire programme, with poster and a review.

The Royalty Theatre, Soho, reopened after redecoration as the Royal Soho Theatre in January 1850. It was called the New English Opera House for a short period from the 5th of November 1850. A new portico was added in 1851 and the Theatre was renamed yet again, as the Theatre Francais, in 1861.

The Theatre reopened after considerable interior reconstruction as the New Royalty Theatre on the 12th November 1861, but was called the New Royalty Operetta House for one season in May 1862.

In 1872 the Theatre became know as the Royalty Theatre again, although it was occasionally called the New Royalty Theatre. After another internal reconstruction the Theatre reopened on the 23rd April 1883 as the Royalty Theatre again.

Right - Royalty House which was built on the site of the Royalty Theatre. The building on the left of this picture can also be seen in the 1913 picture shown above right. Photo M.L. 05.

There was furthur reconstruction in 1895 and the Theatre reopened with a production of 'The Chili Widow' on the 7th of September 1895 (See poster left).

Left - A Poster for 'The Chili Widow' at the Royalty Theatre, (Courtesy Patrice De Cuyper) - This production reopened the Theatre on the 7th September 1895 - Click for the entire programme, enlarged poster, and a review of the production.

In 1906 the 'New' was added to the Theatre's name once more (See souvenir text below). But on the 12th April 1911 the name was back to the Royalty Theatre again, and for the last time.

The Royalty Theatre closed for the last time on the 25th November 1938 after losing its license, and although several schemes were considered for its rebuilding or reconstruction nothing came of them.

The Theatre soon became derelict and was damaged in the Blitz. The Royalty Theatre was demolished in 1953 and an office building, Royalty House, was built on the site.

Right - A Programme extract for 'A Snug Little Kingdom' at the Royalty Theatre, January 31st 1903.

(The Royalty Theatre, Dean Street, Soho should not be confused with the Royalty Theatre, Kingsway which was built on the site of the old Stoll Theatre and is now called the Peacock. This Theatre and its history can be found here.)

By the incorporation of adjoining premises the theatre has been considerably enlarged, the interior entirely remodelled and new exits provided. The entrance vestibule and the grand saloon have been extended to better proportions, and separate bars have been arranged for the pit, the upper circle and the gallery. There is now a third more seating accommodation in the stalls than before, and the popular pit has been made more than double its original size. All the seats have been so arranged that an excellent view of the stage may be obtained from every part of the house (capacity 657).

Right - A Programme for 'Lady of the Lake' at the Royalty Theatre in 1906.

A very needful and ingenious alteration has also been made in the stage, where the roof has been raised fifteen feet. By means of this improvement the scene shifting is facilitated during the progress of the play, thus reducing the time of waiting between the acts. All the upholstery and curtain materials throughout the theatre are absolutely fireproof. The sanitary arrangements are remodelled on the latest system, and careful consideration has been given to the important matters of warming and ventilation. Thus the new Royalty Theatre may be said to rank as one of the most secure and comfortable houses in the kingdom.

The entire work of enlarging, redecorating, lighting, heating, and furnishing, was entrusted to Messrs. Smee & Cobay of 139, New Bond Street, W., and we have pleasure in congratulating them upon the ingenuity and taste they have displayed, and also upon the rapidity with which the work has been done. Taking into consideration the nature and difficulties of the work, we believe it constitutes a record in theatre reconstruction.

Left - A Programme extract for 'The Man Who Stayed Home' which ran for 584 performances at the Royalty Theatre from 1914.

The scheme of decoration employed is characteristically French. Indeed it was a happy inspiration that prompted Messrs. Smee & Cobay to adopt the delicate 'Regency' style which, with its exquisite soft colourings and restrainedly fanciful decorations, make it the mode de rigueur for high-class theatre embellishment.

Right - A Programme extract for 'The Admirable Crighton' at the Royalty Theatre 1920.

The walls throughout are treated in very pale cream, with the raised ornaments daintily touched with gold. The main entrance has a fine marble floor laid with Swedish green and Sicilian white, and the balustrade of the staircase has been executed in wrought iron, with a handrail of Derbyshire alabaster. This staircase leads to the foyer and grand saloon, where the decorations are of a soft tint of Celadon green, with raised decorations and mouldings in cream. This comfortably furnished lounge and saloon will form a pleasant promenade and rendezvous for the guests of the New Royalty Theatre.

The royal box is appropriately decorated with Gobelin blue and gold walls, and gilt furniture covered with Aubusson tapestries in delicate colourings.

The carpeting throughout is cerise with a cream border of ribands, and is in the style of the 'Regency'.

Left - A Programme for 'Pillars of Society' at the Royalty Theatre 1926.

The piece de resistance of the scheme of colour, however, is the proscenium drapery. This, we believe, to be unsurpassed in the theatrical world for its delightful colouring and sumptuous embroidery. The valance and tableaux curtains are of rich colours of an exquisite tint of cerise, with an elaborate applique of scroll work and floral sprays of shaded silver satin upon a trellis of pale Gobelin blue. The effect is a lovely construction of most delicate tints, unique in its result, being at once elaborate and yet in excellent taste.