The Saville Theatre, 135 - 149 Shaftesbury Avenue, Holborn, London

Later - ABC 1 and 2 / Cannon / MGM / Odeon Covent Garden

The Saville Theatre - Plans of the Theatre - The Stalls Bar and Salon - Opening and Early History - Bernard Delfont Period - John Clements Tenure - Later Productions and History - Programme Covers for the Saville Theatre - Brian Epstein and the Saville Theatre - The Last Live Productions at the Saville Theatre - Twin Screen EMI Cinema Conversion 1970 - Four Screen Odeon Conversion 2001 - Redevelopment Plans for the former Saville Theatre 2017 to 2025

Above - The former Saville Theatre, Shaftesbury Avenue whilst in use as a 4 Screen Odeon Cinema in April 2014 - Photo M. L.

The Saville Theatre was constructed by Gee, Walker and Slater of 32, James's Street, London, to the designs of the architects T. P. Bennett & Son of 41, Bedford Row, London, who were also responsible for the whole colour scheme, lighting, and furnishings of the Theatre, and worked in consultation with Bertie Crewe.

Right - A programme for the opening production of 'For the Love of Mike' at the Saville Theatre in October 1931 and ran for 239 performances.

The Theatre opened on the 8th of October 1931 with a production of 'For The Love of Mike' which was a play with music by H. F. Maltby, adapted by Clifford Grey. The cast included Arthur Riscoe, Viola Tree, Bobby Howes, Olga Lindo, and Alfred Drayton.

Left - The Auditorium of the Saville Theatre when it first opened in 1931 - From The Architectural Review 1931 Vol 70.

The Theatre was built on three levels, Stalls, Dress Circle, and Upper Circle, with two boxes and had a seating capacity on opening of 1,229, including 642 in the stalls, 261 in the Dress Circle, 319 in the upper circle, and 8 in the boxes.

However, with standing room included the total capacity could be increased to 1,526. The Stage was 31' 6" Wide by 30' 6" Deep.

The front of the Theatre was imposing and had a sculptured frieze by Gilbert Bayes running along it for nearly 40 meters, representing 'Drama Through The Ages.' This is still to be seen on the building today and according to the Theatres Trust was described in 1998 as 'perhaps the most significant sculpture of the 1930s on a prominent building.' The Frieze was created in the artist's studio and then taken to the Theatre in sections for fitting to the Theatre's facade. One section of the Frieze was displayed in Burlington House as an exhibit for the Royal Academy in April 1931, before being fitted to the Theatre.

Above - Gilbert Bayes working in his studio, the large frieze on the wall is the original of that which adorns the former Saville Theatre today - From The Sphere, 26th of August 1933.

Above - Sections of Gilbert Bayes' Frieze on the facade of the Saville Theatre - From Country Life, 2nd of November 1989.

Above - The Saville Theatre under construction in May 1931 - From The Sphere, May 9th 1931.

The Stage Newspaper reported on the soon to be opened Saville Theatre in their 10th of September 1931 edition saying:- 'Although the first theatre to be built by the architects, Messrs, T. P. Bennett and Son, London's latest theatre in Shaftesbury Avenue is full of original points, striking from the outside and the last word in comfort within. In erecting it the architects have refrained from following any recognised style and also avoided the eccentricity that is apparently a feature of modern theatre building or reconstruction. The exterior approaches severity.

The red brick walls are relieved by a fine bas relief that runs around the frontage. This beautifully executed and unusual piece of sculpture, the work of Mr. Gilbert Bayes, shows entertainment in procession from the earliest days (see image above). The section devoted to Harlequinade is remarkable in that the artist has chosen to introduce a clown of the circus ring, one-piece baggy suited and conical hatted, instead of the traditional losenged, visored, tighted lover of the Ballet-skirted Columbine who dances with him on the white stone.

Right - A Report on the 'Two Ton Window Frame' of the Saville Theatre - From The Derby Telegraph of January 23rd 1931.

Above the metal and glass portico, and somewhat dwarfing it, is a huge arched window that goes to the roof (see press article shown right).

At the summit of the walls are interlaced medallions in white.

Left - An Advertisement for George Pixton Co. Ltd., who supplied the seats for the Saville Theatre along with many other London Theatres of the period - From the Kinematograph Weekly, 18th of June 1931.

The house has a seating capacity of from 1,400 to 1,500 on a stalls level and two tiers. The seats are comfortably upholstered and commodious, every row and its gangways being provided with small electric lights showing distinctly the distinguishing letter. There are no pillars; and, the house narrowing fanways towards the orchestra pit and the proscenium, the audience has a completely uninterrupted view of the stage.

Above - A Photograph showing the Stepped Lighting Installation at the Saville Theatre when it first opened, very similar to that which had been installed at the Cambridge Theatre in 1930 - From The Kinematograph Weekly, 17th of March 1932.

The roof, which has the effect of being beautifully fluted, slopes towards the stage and is in gently graduated shades of grey and fawn, relieved here and there by touches of deep blue. The walls of the auditorium carry out the same scheme and colouring.

Right - A Topolski Sketch showing a Full House at the Saville Theatre - From an article in The Sketch, May 8th 1940.

There are two boxes, the Royal box being provided with private retiring room and a separate entrance from the street. The general decorative effect is here relieved by rich hangings, curtains on entrance and exit doors being in a note of vivid rich green, a colour that also stands out dominantly from the greys and fawns of the thick pile carpet that covers every passage way and landing in the front of the house. Doors are constructed of heavy richly polished mahogany and other valuable woods, with silver handles.

The managerial offices are cut off by a private door. Retiring rooms are commodious and handsomely appointed, and the housekeeper's sanctum with its own private offices and rows of lockers, denotes thought for the comfort of employees. The bars on each tier level are well furnished, and a novel feature is found in the big saloon that occupies the entire space under the front of the house. This is the first time this arrangement has been made in a theatre.

Left - A Topolski Sketch showing the bar at the Saville Theatre - From an article in The Sketch, May 8th 1940.

The foyer, with three exits to the street, is large enough to prevent any crushing, and although rather low-roofed is as handsomely decorated as any other part of the house, and is illuminated by concealed lighting. This lighting system goes through the auditorium, but open lights on passageways and landings clearly indicate the direction of the part of the building patrons may be looking for.

Above - The Foyer of the Saville Theatre on its opening in 1931 - From a programme for the opening production of 'For the Love of Mike' at the Saville Theatre in October 1931.

Heating has been carefully attended to, and the engineer can raise or lower the temperature at will according to climatic requirements. The heating is central. The orchestra pit is large, but no attempt has been made to provide for the stunts that are becoming increasingly common. It is intended that the first-class full orchestra, under the direction of Mr. Joseph Tunbridge, who is responsible for some of the music in the opening play, shall provide melody and not mechanical acrobatics. Acoustic properties are exceptionally good.

Right - A Topolski Sketch showing standing room the Saville Theatre - From an article in The Sketch, May 8th 1940.

The plain proscenium, with its rich curtains, has a clear opening of thirty-two feet. The stage has a depth of forty. The grid is exceptionally high, but scenery will be worked from the stage on the counterweight system. Twenty-two dressing-rooms are all provided with hot and cold water.

There is an exceptionally large chorus and practice room apart from the actual dressing-rooms. These, like the front of the house, have central heating. All the seats in the house are bookable in advance, those in the upper circle, however, being only available on the actual day of performance. Following the present custom, the Saville is fully equipped for kinematographic performances.

Left - A Topolski Sketch showing a box at the Saville Theatre - From an article in The Sketch, May 8th 1940.

The general manager is Mr. Alfred Turner, and the box office is in the hands of Mr. Frank Sleap. Both these gentlemen were long associated with the Winter Garden Theatre, and both have unusually long and sound West End experience. The stage manager is Mr. John Wigley.

Right - One of the Auditorium Boxes at the Saville Theatre when it first opened in 1931 - From The Architectural Review Vol 70 1931.

The house will open on October 8 with "For the Love of Mike," a "play with tunes," by H. F. Maltby and Clifford Grey, with music by Jack Waller and J. A. Tunbridge, and lyrics by Clifford Grey and Sonny Miller. The cast will include Messrs. Bobbie Howes, Alfred Drayton, Arthur Riscoe, Syti Walker, Michael Cole, Wylie Watson; Misses Viola Tree and Olga Lindo. Prior to the London premiere there will be a run of three weeks in the provinces.'

The above text in quotes was first published in the Stage Newspaper, September 10th 1931.

Plans of the Saville Theatre

Above - T. P. Bennett's Plans of the Saville Theatre - From The Builder 4th of September 1931.

Above - Plans of the Saville Theatre when it first opened in 1931 - From The Architectural Review Vol 70 1931.

An Acoustic Diagram of the Saville Theatre

Above - An Image and Article on the Design of the Acoustic Properties of the Saville Theatre - From The Architectural Review Volume 70, 1931.

The Saville Theatre's Stalls Bar and Salon

Above - The Saville Theatre shortly before it opened - From The Stage Newspaper, September 10th 1931.

On the day of the Saville Theatre's opening with a production of 'For the Love of Mike' - a scene from which is shown right - the Stage Newspaper printed a short review of the building, in their October 8th 1931 Edition, and, amongst other things, reported on the Theatre's Stalls Bar and Salon saying:- 'The stalls bar and saloon lounge adjoining, will please the public, special care has been exercised in their equipment and decoration.

Right - A scene from the opening production of 'For the Love of Mike' at the Saville Theatre - From The Sketch, October 21st 1931.

The bar, which has mural paintings by Mr A. R. Thompson, is 18 ft by 54 ft in front of the counters, while the lounge, which is also decorated by the same artist, is 42 ft by 40 ft. There is a sort of shopping arcade in and about the lounge, as in the up-to-date hotels, and it is quite big enough for tea dances or concerts. So comfortable, indeed, are the lounge and the bar at the Saville, that it is to be feared that something more than a warning bell will be necessary to clear them.' - The Stage, 8th of October 1931.

Above - The Stalls Bar in the Saville Theatre on its opening in 1931 - From a programme for the opening production of 'For the Love of Mike' at the Saville Theatre in October 1931.

Above - The Stalls Bar at the Saville Theatre in 1931 - From The Builder 4th of September 1931.

Above - The Salon at the Saville Theatre on its opening in 1931 - From a programme for the opening production of 'For the Love of Mike' at the Saville Theatre in October 1931. When the Theatre opened Tea was served in the Salon of the Saville at each matinee.

Above - A Tea Set used at the Saville Theatre in its early years - Photograph kindly sent in by Kim Melhuish. When the Theatre opened Tea was served in the Salon of the Saville at each matinee.

Above - Another view of the Salon at the Saville Theatre on its opening in 1931 - From a programme for the opening production of 'For the Love of Mike' at the Saville Theatre in October 1931. When the Theatre opened Tea was served in the Salon of the Saville at each matinee.

Above - Three Wall Paintings by A. R. Thompson representing drinking through the ages situated in the Stalls Bar and Salon of the Saville Theatre for its opening in 1931 - The Sketch, October 14th 1931.

As a side note the Stalls Bar and Salon Lounge which were situated beneath the Auditorium of the Saville Theatre, and had murals painted by A. R. Thompson, so impressed the proprietors of the Stanley Hotel in Nairobi, Kenya when they visited the Theatre in 1932 that they asked the Theatre's Architect T. P. Bennett if he would recreate it for their Hotel's Lounge Bar, and for A. R. Thompson to create some new Murals to decorate it, which they were both happy to oblige with. Whether the Hotel, which was first built in 1902, still has this Lounge Bar and its decorations I haven't been able to find out but it would be interesting to see given that the Saville's original incarnation is long gone today.

Opening and Early History

Above - The Saville Theatre as shown in its Opening Programme of 'For The Love of Mike' on the 8th of October 1931.

The opening play at the Saville Theatre on the 8th of October 1931 was 'For the Love of Mike' which ran for 239 performances, and this was then followed by a production of 'Tell Her the Truth' which was, like the first production at the Saville, a play with tunes, this time by R. P. Weston and Bert Lee, adapted from Frederick Isham's 'Nothing But the Truth.' 'Tell Her the Truth' opened in June 1932 and ran for 234 performances.

Right - A programme for the second production at the Saville Theatre in June 1932, 'Tell Her the Truth.' The cast for this production included many from the first production at the Saville including Bobby Howes, Alfred Drayton, Henrietta Watson, and Peter Haddon.

The Saville Theatre was damaged in the Blitz of 1941 during the run of 'Up and Doing' which had opened at the Theatre in 1940 (Programme shown left).

Left - A Programme for 'Up and Doing' at the Saville Theatre in 1941, the same production of 'Up and Doing' reopened the Theatre after it was repaired and restored, to achieve an overall run of some 603 performances.

However, the Theatre was soon repaired, restored, and operating again with the same production of 'Up and Doing' which reopened the Theatre and continued its success, achieving an overall run of some 603 performances. A very nice photograph of Leslie Henson and Cyril Ritchard staging a publicity photograph outside the Saville Theatre for the reopening of 'Up and Doing' in 1941 can be seen below.

Above - Leslie Henson and Cyril Ritchard staging a publicity photograph outside the Saville Theatre for the reopening of 'Up and Doing' at the Theatre in 1941 - From The Sketch, 4th of June 1941.

As a side note the stage Door Keeper at the Saville Theatre from its opening in 1931 to his death in June 1949, was Bill Edwards, who was previously at the Gaiety Theatre for many years. He was a long time friend of Leslie Henson as they had fought in the First World War together. It must have been an interesting and comforting period for both of them during the run of 'Up and Doing' during the Second World War.

Right - A Programme for 'Over She Goes' with Stanley Lupino which opened at the Saville Theatre in 1936 and ran for 248 performances.

On Thursday the 6th of August 1942 the Theatre's Royal Box was used for the first visit of Princess Elizabeth and Princess Margaret to a West End evening show, they were accompanied by the King and Queen to see Firth Shepherd's revue 'Fine and Dandy' starring Lesley Henson, Stanley Holloway, Dorothy Dickson, Pat Taylor, and Douglas Bynig.

It was also the first time that the King and Queen had been to an evening theatre for two and a half years and was a great surprise to the audience who applauded their arrival most enthusiastically.

Left - A Scene from Firth Shepherd's revue 'Fine and Dandy' at the Saville Theatre in 1942 - From The Sketch, 20th of May 1942.

You have to wonder how this visit was achieved safely given that it was in the middle of the Second World War.

The Theatre would have several more Royal visits over the next few decades although they often sat in the Stalls rather than the Royal Box which didn't have the greatest view of the stage.

Bernard Delfont took over the Saville Theatre in 1946, putting on 'Here Comes the Boys' in April that year (Programme shown right), which starred Jack Hulbert and Bobby Howes, this was reasonably successful, and Lesley Henson was at the Theatre again in 1948 for 'Bob's Your Uncle' which ran for a year before going on tour.

Right - A Programme for 'Here Come The Boys' in 1946 when Bernard Delfont had taken over the management of the Saville Theatre.

But after this the Theatre had less success for several years until Delfont put on Ivor Novello's 'Gay's the Word' in February 1951 starring Cicely Courtneidge (Programme shown left). This was a big hit and ran for nearly two years.

Left - A Programme for Ivor Novello's 'Gay's the Word' at the Saville Theatre in February 1951 - Courtesy Michael Jaffé.

In 1955 the actor John Clements took a Tenancy of the Saville Theatre with the aim of putting on and acting in short runs of new and classic plays for eight weeks each, which would then be filmed for broadcast by Associated Redifusion Television, for which he was their Adviser on Drama. This season of six plays at the Saville would run through to the end of 1956.

Right - John Clements and his wife Kay Hammond who both appeared in 'The Rivals' at the Saville Theatre in 1956 - From The Sketch, 25th of January 1956.

The first production Clements produced at the Saville was Norman King's 'The Shadow of Doubt' which opened in July 1955, and this was followed by Ibsen's 'The Wild Duck', Anton Chekhov's 'The Seagul', Sheridan's 'The Rivals', and lastly 'The Way of the World', and 'The Doctor's Dilema'.

The settings for 'The Wild Duck' incidently were created by Laurence Irving who was the Grandson of Henry Irving. Whilst this play was on at the Saville in 1956 he created a small exhibit of some of Irving's memorabilia in the Theatre's Salon, shown left.

Left - A display showing some of Henry Irving's Memorabilia in the Saville Theatre's Salon created by his grandson Laurence Irving in 1956 - Photograph from The Sphere, 7th of January 1956.

John Clements had also made some changes to the Theatre itself for his tenure, the interior of the Theatre was completely redecorated, also to the designs of Laurence Irving, and the Safety Curtain was repainted with a new design too, and at the same time John Collins created a new mural for the Stalls Bar which can be seen below in 1966, and the former Salon which adjoined it was redecorated along with its former Buffet which became a Champaign Bar.

Above - John Clement's production of 'The Shadow of Doubt' by Norman King, the first of Clement's six productions at the Saville Theatre from 1955 to 1956, filmed for Associated Redifusion Television- From The Sphere, 13th of August 1955.

Another interesting production at the Saville Theatre during this period was 'Cavalcade of 1906' which was a show put on at the Theatre for one Sunday Night only on the 25th of November 1956.

The show was a charity event for the Central School of Speech and Drama which was moving from their Albert Hall premises to the Embassy Theatre, Swiss Cottage.

Right - Sir Laurence Olivier hamming it up in 'Cavalcade of 1906' at the Saville Theatre in November 1956. Beside him is his then wife Vivian Leigh - From The Sphere, 8th of December 1956.

The one off event starred some of the biggest names of the day including Sir Laurence Olivier, Sir John Guilgud, Peggy Ashcroft, Dame Edith Evans, Vivien Leigh, Jack Train, Ann Todd, Donald Peers, Tyrone Power, Julian Slade, Judy Campbell, Nicholas Hannen, Margaret Rawlings, Irene Worth, and Sandy Wilson.

The Edwardian themed show which resulted in all the cast really letting their hair down and having fun raised £1,400 for the Drama School.

After the John Clements season had ended towards the end of 1956 a new musical called 'The Crystal Heart' starring the famous stage and movie star Gladys Cooper was put on at the Saville Theatre in February 1957. The show was however, universally panned by critics on its earlier try out in Edinburgh and it didn't go any better in London.

Left - Film and Stage Star Gladys Cooper - From The Sketch, Wednesday the 16th of January 1957.

Cooper, who was born in Lewisham but now lived in the USA, was in her late 60s at the time, and said that she was appalled to hear booing from the circle. She said that 'in all my 50 years on the stage I have never been booed before' and that if the show was to close early 'I'll hike me back to my sunny home in California, I lost a lot of money by abandoning TV engagements in the United States to come here, I must return and make it up... It wasn't pleasant to be booed but after all, if every play was a winner we would all be millionaires. I cannot say I was upset though. We all get the bird some time.' 'The Crystal Heart' closed at the Saville Theatre on the 19th of February 1957 after a very short run of just six performances. - Gladys Cooper quotes from the Edinburgh Evening News, 20th of February 1957.

In March 1960 the then Manager of the Saville Theatre, Frank Sleep, retired. He had been at the Saville since its opening in 1931, first as the Box Office Manager for ten years and then as Manager for nineteen years. Frank Sleep was married to Josie Bradley, the widow of Mark Stone who headed the Yorkshire based Murgatroyd family on radio and television for many years.

Above - A Seating Plan for the Saville Theatre from the pre-computerised days of manual ticketing - Courtesy Martin Clark and Doreen Gould.

In June 1961 Bernard Delfont, who had put on several shows at the Saville Theatre since 1946, bought the Freehold of the Theatre with the intention of renaming it the Gaiety Theatre but this never came to pass.

In April 1963 A Property Company owned by Frank and Sylvia Rind called Greenhaven Securities Ltd., became owners of the Saville Theatre when they bought the whole share issue of Fieldhouse Investments Ltd., the operating Company run by Bernard Delfont and Tom Arnold. They planned to knock down the Theatre and build an office building, showrooms, and flats, and a smaller 1,000 seat Theatre on its site, but they gave Bernard Delfont a new three year lease on the Saville so that his booked future productions could still go on.

Their demolition plans didn't go ahead in the end thankfully and instead they would sell the Lease of the Theatre to Brian Epstein in 1965, details below.

Also in 1963 the TV Times ran an article called 'Dropping Out as a Chorus Girl' in their 25th of October edition, which followed the hopes of a young and inexperienced dancer, Diana Lancaster, hoping to become part of the Chorus in a production of the Charlie Drake Show.

Right - Diana Lancaster preparing for her audition as a Chorus Girl for the 'Charlie Drake Show' in the Stalls Bar of the Saville Theatre in 1963 - From the TV Times, 25th of October 1963.

The auditions were held on a bare stage at the Saville Theatre in 1963 and two images from this audition can be seen below. "The daytime stage was naked and dusty. Planks piled up at the back. Splinters dived at my wildly splaying toes. There wasn't even a shadow to hide in" said Diana of the audition, and unsurprisingly she didn't get the job. "As a Charlie", she said, "I was a failure".

Nevertheless the photographs are interesting as they show how the stage of the Saville Theatre looked back in the 1960s when it was empty.

Above - Diana Lancaster watching the other hopefuls at an audition for new Chorus Girls in the 'Charlie Drake Show' taking place on the Stage of the Saville Theatre in 1963 - From the TV Times, 25th of October 1963.

Some Programme Covers for the Saville Theatre

Above - A Selection of Saville Theatre Programme Covers, some from the Arthur Lloyd Archive, and others Courtesy Martin Clark. Swipe Left or Right, or Click the Arrows and Thumbnails, to see the next programme.

Brian Epstein and the Saville Theatre

Above - The former Saville Theatre, Shaftesbury Avenue whilst in use as a 4 Screen Odeon Cinema in March 2018 - Photo M. L.

In April 1965 the well known Music Producer and Manager of 'The Beatles' Brian Epstein bought the Lease of the Saville with ambitions to operate it as a legitimate Theatre, a personal interest of his, and he opened it in October 1965 with the Edinburgh Festival production of James Baldwin's 'The Amen Corner'. This was followed by the Doyle Carte Opera Company in a ten week season of Gilbert and Sullivan, and following that a new musical called 'On the Level' which opened to mixed reviews on the 18th of April 1965. Although Epstein owned the Lease of the Theatre it was still being run by Bernard Delfont during this period and many different productions were tried there, but Epstein's Rock and Pop Music connections would soon become a major influence and the Saville Theatre would later become an exceptionally successful Music Venue in 1966 with Epstein at the helm operating it during the height of the UK International Beat Boom.

A Photograph of Brian Epstein in front of John Collin's 1955 Mural in the Salon of the Saville Theatre from Daily Mirror, 17 August 1965, and an Article on his hopes and plans for his tenure of the Saville Theatre, from the Melody Maker of January 1967, can be seen below.

Above - A Photograph of Brian Epstein in front of John Collin's 1955 Mural in the Salon of the Saville Theatre from Daily Mirror, 17 August 1965 - And An Article on his hopes and plans for his tenure of the Saville Theatre - From the Melody Maker, 21st of January 1967 - Courtesy Martin Clark and Ian Howells.

Epstein began by putting on concerts of major acts on Sundays when the Theatre wasn't being used by regular shows. A visitor to this site, Roger Edwards, who has sent in the programme shown right, went there on the 13th of November 1966 to see 'The Four Tops', it was their 1st UK concert at a time when they were dominating the UK charts.

Right - A Programme for the Four Tops at the Saville Theatre in 1966 - Courtesy Roger Edwards.

The Saville, under Brian Epstein, went on to stage many notable acts of the day, playing host to the likes of The Bee Gees, The Who, Little Richard, Georgie Fame, Cat Stevens, Jimmi Hendrix, Pink Floyd, Fats Domino, Gerry and the Pacemakers, Chuck Berry, Elton John, and the Beatles, whose 'Hello Goodbye' promo, which is now available on the Beatles Anthology, was filmed at the Saville Theatre on Friday the 10th of November 1967, see video here.

Left - An Advertisement for Fats Domino, Gerry & The Pacemakers, and The Bee Gees all appearing at the Saville Theatre in one week in 1967 - From the Evening News (London), 23rd of March 1967.

As you may imagine some of these concerts were filled with pretty lively crowds and when Chuck Berry was performing there in February 1967 a riot broke out when the Theatre's Safety Curtain was brought in during his act because some members of the audience had jumped on stage and began dancing to the music. The audience went crazy when the show was stopped, pulling lamp fittings off the walls, uprooting seats, and damaging decorations. Brian Epstein was in attendance, watching the concert from a box with John Lennon and Ringo Starr, and was incensed by the show being stopped. Several members of the audience were arrested when the Theatre was evacuated and Epstein would later sack his Manager Michael Bullock for his actions.

Right - A photograph of Brian Epstein from and article on his death in the Liverpool Daily Post, 28th of August 1967.

Sadly Brian Epstein died in August 1967 at the age of just 32 and with him went his ambition to operate the Saville as a legitimate Theatre but he is still remembered for putting on a vast amount of mostly sell out pop concerts there during 1966/67. The last concert he had staged at the Saville was headed by the Jimmy Hendrix Experience who had already performed one show that day, the second show was cancelled however, when news of Epstein's death reached the Theatre.

The last Live Productions at the Saville Theatre

Above - The Former Saville Theatre whilst in use as a 4 Screen Odeon Cinema in April 2014 - Photo M. L.

The Saville Theatre was quite a successful Theatre during its short life and it's surprising that more wasn't done to stop its eventual demise.

In July 1968 the Theatre became home to a production of the 1926 George Gershwin Musical 'Lady Be Good' with Lionel Blair, Ami Macdonald, and Joe Baker in the cast, the show opened on the 25th of July and ran for several months, see image right.

Right - The Saville Theatre during the run of the George Gershwin Musical 'Lady Be Good' in 1968, with Lionel Blair and Joe Baker - Courtesy Piers Caunter.

This was replaced by the Pantomime 'Queen Passionella and the Sleeping Beauty' on the 21st of December 1968 with Lionel Blair in the cast again, which ran at the Saville until the end of June 1969, and so became the longest running Pantomime ever to be shown in London's West End.

On July the 1st 1969 Leonard Rossiter starred in Bertold Brecht's 'The Resistible Rise of Ui' at the Saville Theatre, a Nottingham Playhouse production advertised has having some seats at the low price of just 5s to £1, with other seats at £2. The play continued into September 1969.

In November 1969 a new Producer, the then 23 year old Cameron Mackintosh, in association with David Dein and Guildford's Yvonne Arnaud Theatre, put on what was to become the penultimate production at the Saville Theatre in its final year of being a live venue. The show was a revival of 'Anything Goes' which opened at the Saville on the 18th of November 1969 (See Flyer left and Full Programme Below).

Left - A Flyer for Cameron Mackintosh's 'Anything Goes' at the Saville Theatre in 1969 - Courtesy Martin Clark.

The production starred Marian Montgomery, James Kenney, Michael Segal, Michael Malnick, Linda Gray, Stanley Beard, Valerie Verdon, Janet Mahoney, Bernard Sharpe, Peter Honri, Michael Rowlatt, John Stoddart, David Wheldon Williams, and Malcom Clare, but was to be a bit of a disaster for Cameron Mackintosh's first foray into producing as the show closed after just an 11 day run.

However, as history has proven, Sir Cameron Mackintosh would go onto become one of the world's greatest producers, putting on a string of incredibly successful productions over the ensuing years, and becoming not just a Producer but a Theatre Owner too, and a remarkably caring guardian of the West End Theatres he owns, lavishing vast sums of money and care on restoring and renovating them for future generations.

Right - A Programme for 'An Evening With Maurice Chevalier' which was on at the Saville Theatre for a limited season in 1962. And a Programme for Three's A Family' at the Saville Theatre.

It's a shame Cameron Mackintosh didn't own the Saville Theatre back then as it may not have been subjected to the fate it would soon succumb to.

Above - A Programme for Cameron Mackintosh's 'Anything Goes' at the Saville Theatre in 1969 - Courtesy Martin Clark. Swipe Left or Right, or Click the Arrows and Thumbnails, to see the whole programme.

After Anything Goes closed the Rolling Stones did a concert at the Saville Theatre on Sunday the 14th of December 1969 which by all accounts was a bit of a damp squib with Mick Jagger trying to encourage the audience to get up and dance instead of politely applauding whilst encircled by 10 Policemen, '32 strong arm men' and 15 members of the St. John's Ambulance Brigade who feared an avalanche of injuries, but the concert went off without a hitch.

Right - An Advertisement for 'Enemy' the last production at the Saville Theatre before it was converted into a Twin Screen Cinema for ABC - From the London Evening News, 30th of December 1969.

The last Play to be performed at the Theatre was 'Enemy' by Robert Maugham put on the following week. The three hander cast included Dennis Waterman, Tony Selby and Neil Stacy, and the play was directed by Ronald Eyre. The Play, which opened on the 17th of December 1969 and ran into January 1970, only had a short run as the Theatre had been bought by EMI who planned to convert the Theatre into a twin screen Cinema. You can see the full Programme and Flyer for 'Enemy', the final production at the Saville Theatre below.

Above - A Programme and Flyer for 'Enemy', the last production at the Saville Theatre before being converted into a Cinema in 1970 - Courtesy Martin Clark. Swipe Left or Right, or Click the Arrows and Thumbnails, to see the whole programme.

Conversion of the Saville Theatre into a Twin Screen Cinema by EMI in 1970

Above - The ABC Cinemas Shaftesbury Avenue, formerly the Saville Theatre - From the Evening News (London), 18th of December 1970.

The 37 week conversion of the Saville Theatre into a Twin Screen Cinema at a cost of £600,000 was carried out by William Ryder and Associates for Bernard Delfont's EMI Film and Theatre Corporation Ltd. The new Cinemas, ABC1 and ABC2, which could seat 616 and 581 respectively, opened on the 22nd of December 1970 with the films 'The Railway Children' and 'A Girl in my Soup'.

Right - The Twin Screened ABC Cinema which was a conversion of the former Saville Theatre in 1970 - From the Kinematograph Weekly, 13th of February 1971 Courtesy Martin Clark.

The conversion of the former Theatre involved demolishing the two circles, gutting the interior, reconstructing the basement levels on new foundations and providing stanchions for the upper levels with structural steel.

Left - A Plan showing how the Saville Theatre was converted into a Twin Screen ABC Cinema in 1970 - Courtesy Martin Clark.

The new Cinemas were extended into the Theatre's former Stage House which was no longer needed. The Stalls Bar in the basement was mothballed and still exists today, albeit in a poor state, but the former Salon which adjoined it was lost in the conversion.

A double page Advertisement Feature for the Twin Cinemas was carried in the Evening News (London) on Friday the 18th of December 1970 and can be seen below.

Above - A Double page Advertisement Feature for the new ABC Cinemas at the former Saville Theatre - From the Evening News (London) on Friday the 18th of December 1970.

Odeon's Four Screen Conversion 2001

Above - The Odeon shaftesbury Avenue in 2006, formerly the Saville Theatre - Photo M.L.

The Twin Screened ABC Cinema conversion of the former Saville Theatre by EMI had opened on the 22nd of December 1970 but it was never that successful and when the building was taken over in 2000 by Odeon, along with ABC, the Company, the Theatre was renovated and split again, this time into four screens, at a cost of £1.5 million and reopened as the Odeon Covent Garden on the 1st of September 2001.

Right - The Odeon, Covent Garden in April 2014, formerly the Saville Theatre - Photo M.L.

Left - A Plan showing the conversion of the former ABC Twin Screen Cinema into a Four Screen Cinema for Odeon in 2001 - Courtesy Martin Clark.

In December 2017 plans were proposed to redevelop the former Saville Theatre into an Hotel and small Cinema Complex but this eventually fell through. Later, in 2021 new plans were put forward to redevelop the former Theatre into an Hotel with small Theatre space in the basement, more details on all this can be seen below.

Above - A Wide Angle Lense shot of the Rear Elevation of the former Saville Theatre in March 2018 - Photo M.L. The tall and narrow former Scenery Entrance can be seen at centre of the side elevation of the building. The former dressing room windows, and the former Stage Door, and Upper Circle and Stalls Exits can be seen on the rear elevation.

Above - The Rear Elevation of the former Saville Theatre in March 2018 - Photo M.L.

Above - The Side Elevation of the former Saville Theatre in March 2018 - Photo M.L.

Redevelopment Plans for the former Saville Theatre 2017 to 2025

In December 2017 a consultation on plans to redevelop the former Saville Theatre into an Hotel and small Cinema complex was held at the Thai Square Restaurant in Covent Garden, opposite the former Theatre, by Haim Danous, founder of the Thai Square Restaurant Group, and then owner of the Theatre. Danous's latest plans for the building, which had been scaled back several times over the preceding months, were to convert the Theatre by adding a two storey roof extension with a roof top bar and roof plant above the existing parapet of the building, to create a 94 room Hotel with ancillary restaurant, bar and spa, and to provide four small Cinema Screens in a new basement level seating 96, 82, 47, and 47 respectively.

Right - T. P. Bennett's Drawing of the Frontage of the Saville Theatre in 1931 - From The Builder 26th Feb 1937.

It's worth noting that Haim Danous's first plans for the building in May 2017 included a 9 storey roof extension with a 128 room Hotel and provision for a flexible theatre space. Although the theatre space was to be applauded the 9 storey roof extension would have completely destroyed the look of the former Theatre.

Fortunately the plans were not approved and the last of two appeals was rejected in March 2021. As there was much interest in returning the Theatre back to live theatre use there was a hope that the building would be rescued, restored, and reopened for its intended purpose. A Theatre of this size, situated as it is, in the heart of the West End, would be a very welcome addition indeed.

In November 2021 however, the Theatre was purchased by Yoo Capital for £30m, and their managing partner Lloyd Lee said:- "We are excited to acquire one of London's true hidden gems. The Saville has been a very special home of live theatre and entertainment for 90 years. On behalf of the firm and our investors, we consider ourselves privileged to be able to commit our resources to secure its long-term future. We look forward to working with existing stakeholders, the community, arts groups and the London Borough of Camden on our proposals for investment."

Left - The Stalls Bar at the Saville Theatre - From The Architectural Review 1933.

Odeon were forced to close their cinemas in the former Saville Theatre on the 11th of August 2024 as their landlord had confirmed plans for redevelopment of the building although planning permission had yet to be granted. The plans included creating a small live theatre space below the building which would be run by Cirque du Soleil, and a Boutique Hotel in the rest of the former Theatre including a large roof extension.

In April 2025 Camden Council Approved the Plans, surprisingly to many, especially the Theatres Trust who wrote a robust objection to the plans and followed this up after planning consent was granted saying:-

"Theatres Trust believes that the scheme for the former Saville Theatre that has been granted planning permission is a missed opportunity to deliver something truly transformative for both the building and the local area." And that:- "A 9-storey hotel and a 294-seat subterranean performance space is an inferior alternative to the site's true potential. A larger-scale theatre scheme is absolutely deliverable. Compared with the complexity and cost of this proposed scheme, a theatre project would be less risky, less disruptive, and provide significantly greater long-term cultural and economic benefits to Camden and the West End." They went on to say:- "Although altered internally with the loss of much original fabric it is nonetheless similar to many other conversions of the era in that it is reasonably readily reversible to be able to reinstate theatre use within the existing volume. Following further investigation during the Inquiry additional historic and original fabric and features were discovered including the grid, structural elements of the original auditorium above the cinema screens and remnants of the stage house floors and doors." The full response from the Theatres Trust can be found here.

Right - The original auditorium and stage of the Saville Theatre when it first opened in 1931.

Meanwhile the London Evening Standard were postively gushing about the planning concent being given and the plans themselves, showing no concern whatsoever for the inpact on local residents from the extended roof levels or the scheme istelf, and seeming to have no understanding at all of what was about to be lost.

Having had a tour around what's left of the Theatre myself recently I have to say that I agree with the Theatres Trust, although there is very little of the original Theatre to be seen internally, and what there is shows no sign of its original Art Deco interior, this is still a West End Theatre from the 1930s and could be restored to its former glory given the will and finance. Yoo Capital's plans to gut the Theatre and build an ugly Hotel space on top, quite out of character with the original building, and provide a subterranean Theatre for use by Cirque du Soleil, will end any chance of the Theatre being restored to its former grandeur. Although bringing the Saville back into use as a live performance space is welcome, in my opinion it is a waisted opportunity to gut the Theatre instead of restoring it, as if these plans come to fruition there will be no going back.

Left - The Former Saville Theatre whilst being operated as a venue called 'Lost' in October 2025 - Courtesy Martin Clark.

Meanwhile the Theatre has been transformed into a Nightclub called 'Lost' which has been opened by the people behind 'Secret Cinema' using the existing spaces in the building as an immersive theatre, film, music, and dance venue.

Above - A 1930 Street Level Plan of the former Saville Theatre.