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The Scala Theatre, 58 Charlotte Street and Tottenham Street W.1.

Formerly - The New Rooms in Tottenham Street / The King's Concert Rooms / The Cognoscenti Theatre / The New Theatre / The Regency Theatre / The West London Theatre / The Queen's Theatre / The Fitzroy Theatre / The Prince of Wales Royal Theatre

Above - The Prince of Wales Theatre, Charlotte Street in 1903 shortly before its demolition for the building of the Scala Theatre in 1904 - Courtesy Caroline Blomfield

The Scala Theatre in Charlotte Street, London opened on the 19th of December 1904. The Theatre was built on the site of a previous Theatre which had originally opened as the New Rooms in Tottenham Street in 1772. The New Rooms in Tottenham Street had many alterations and name changes throughout its history. It was variously known as the King's Concert Rooms, Cognoscenti Theatre, New Theatre, Regency Theatre, Tottenham Street Theatre, West London Theatre, Queen's Theatre, Fitzroy Theatre, and finally the Prince of Wales Royal Theatre.

The Prince of Wales Royal Theatre was demolished in 1903 to make way for the building of the new Scala Theatre. There is much information on the old and new Theatres in the opening night report transcribed below.

Above - A sketch of the auditorium of the Prince of Wales Theatre, Charlotte Street in 1903 shortly before its demolition - Courtesy Caroline Blomfield. The sketch in the top right corner says 'Squire Bancroft and Marie Effie Bancroft 1865 1880.

In 1904 a new Theatre was built on the site of the former Prince of Wales Royal Theatre by Messrs. Allen & Sons to the designs of the well known Theatre Architect Frank T. Verity. The new Theatre had a capacity of 1,139 and a stage 30' 6" wide by 54' deep and on its opening on the 19th of December 1904 it was called the Scala Theatre, a name it would retain until its eventual demolition in 1969.

Right - The Facade of the 1904 Scala Theatre, Charlotte Street, London.

The Times reported on the opening of the Scala Theatre in their 20th of December 1904 edition saying: 'The new Scala Theatre, which has been built by Cavaliere Edmund Distin-Maddick on the site of the old Prince of Wales's Royal Theatre in Charlotte-street, Fitzroy-square, was opened yesterday afternoon by Lady Bancroft. As Miss Mario Wilton, Lady Bancroft was intimately associated with the old theatre, which, under her management, was raised to a more prosperous position than it had ever enjoyed, and which subsequently fell upon evil days.

After the departure of the Bancrofts, the "Queen's Dust-hole," as it came to be irreverently called, acquired the unenviable reputation of being impossible from the theatrical point of view. Even the Salvation Army, which can work wonders, abandoned the place after giving it a trial, and what was not so many years ago the resort of all that is most brilliant and distinguished in English society came to be regarded as a melancholy example of the vicissitudes of fortune.

The old house came into existence 141 years ago. It was erected in 1700 on a portion of the site of the Scala Theatre by one Signor Pasquale, an Italian, and, although a building of diminutive proportions compared with present-day theatres, it afforded a home in the course of its history to a very large number of theatrical stars. Among these may be mentioned Mrs. Yates, Mrs. Fitzwilliam, the charming Mrs. Nesbitt, and the famous Madame Celeste, who here made her first appearance in England. Madame Vestris and Charles Mathews were also frequently seen on the boards of the old house, but it was reserved for Miss Marie Wilton, of whom Charles Dickens wrote, "I call her the cleverest girl I have ever seen on the stage in my time, and the most singularly original," to make it really famous in the annels of the British theatre.

Here were produced the famous Robertson comedies - Society, Ours, Caste, School, Play, and M.P., here, too, it was, in the words of a living writer, "that Frederick Lemaitre appeared, that Napoleon and D'Orsay rubbed shoulders with Dickens and Thackeray, that once there was a difficulty in finding a seat for Gladstone, and that Beaconsfield received a memorable ovation."

A house with such traditions could hardly pass away without leaving' deep regrets in many minds, and among those who watched its decline with sorrow was the creator of the new theatre, an Englishman who is a fitting successor to Signor Pasquale, since he has many and close Italian relations and has for nearly twenty years held the post of surgeon to the Italian Hospital in London. Dr. Distin-Maddick has caused a remarkable and beautiful theatre to be built on the site of the old one, and he has done so, he declares, in obedience to a directing finger guiding him through the many cares and difficulties he has encountered in the attainment of his desire. Hence the motto blazened over the two Royal boxes, which are the only boxes in the house - "La Forza del Destino" (the power of fate). Possibly, although he does not say so, there is more than an accidental similarity between the first half of the Cavaliere's name and the word destino which figures in the device he has adopted.

Be this as it may, there can be no doubt that the planning and building of this theatre, which has cost a very large sum of money to complete, has been a labour of love to Dr. Distin-Maddick. The ideas now realized were his own; in the carrying of them into effect the creator of the new theatre has had the assistance of Mr. Frank Verity, the architect, to whose professional ability and zeal he pays the highest tribute of praise. The name given to the new house is an indication of its principal and most remarkable feature. It is called the Scala because that word, which has given a name to the most famous theatre in Italy, means in English "staircase," and the staircase in this house breaks away with a gentle decline on either side below the balcony (or dress circle as it is called in most theatres) and leads, by a magnificent flight of ivory-veined marble steps, to the orchestra stalls.

At the top of the house is the gallery, an admirable one both for seeing and for hearing, since there is a free view of the whole of the stage from every seat. The seating of the house has been disposed of as follows:—Stalls, staircase stalls, balcony, pit, and gallery. For the pit it is claimed that is without an equal, and it is perhaps not too large a claim to make for this part of the house, which is extremely well planned and appointed. A special feature of the interior is the orchestra, which has been designed so as to be in harmony with the rest of the house. It is sunk after the manner of the Wagner Theatre, and is a most commodious and comfortable place for the musicians to occupy during the performance of their part of the entertainment.

Left - A programme for 'Judgement at Chelmsford' at the Scala Theatre on the 26th June 1947.

The Royal boxes are on the right and left of the stage. That on the right is the King's box and that which faces it is reserved for the use of the Prince of Wales. A Georgian design has been adopted in these boxes, which add greatly to the beauty of the building. Every precaution has been taken to ensure; the safety of the audience. There are numerous and perfect exits. The stairways and passages are broad, airy, and as nearly as possible straight, and every door from the auditorium leads direct into the street. The building is, moreover, perfectly fireproof, since it is constructed of steel, stone, marble, concrete, and bronze. Enough has been said to show that in the Scala Theatre London possesses one of the most interesting, safe, and beautiful of its places of public entertainment.

It only remains to be added that the stage and all the rooms for the accommodation of those who appear upon it are equally remarkable for the enlightened and even lavish attention which has been bestowed upon them. No detail appears to have been overlooked which could minister to the comfort either of the public or the artists, and the result is what must be regarded as a model theatre.

Right - A programme for 'The Maid of the Mountains' at the Scala Theatre in April 1949.

The theatre has been built by Messrs. Allen and Son from plans which, with one exception, were approved by the London County Council, whose demands in regard to theatre construction are known to be stringent in the interest of the public. With regard to the point upon which the designs were not sanctioned, Dr. Distin-Maddick willingly admits that the refusal of the Council proved their judgment to be correct, and pays a high tribute to the Council and its officials for the treatment he has received at their hands. As regards accommodation it may be said that the house will hold about 1,300 people. The main entrance of the Scala Theatre was opened by Lady Bancroft, who was received by Dr. Distin-Maddick, at 3 o'clock in the afternoon, and a reception subsequently took place, at which there were present, among many others, Sir Squire Bancroft, Mr. F. Dickens, R.A., Mr. W. S. Gilbert, Mr. Humphry Ward, Miss Constance Collier, Mr. Harry Nicholls, Mr. Berman Vezin, Mr. John Hare, Mr. Tito Mattel, Mr. Martin Harvey, Miss Lily Banbury, Mr. and Mrs. George Alexander, Mr. Herbert Waring, Miss Lena Ashwell, Mr. and Mrs. Weedon Grossmlth, Mr. and Mrs. Forbes Robertson, Sir Algernon West, Miss Olga Nethersole, Mr. and Mrs. Lionel Monckton, and Miss Florence St. John.

Above - The auditorium of the Scala Theatre, Charlotte Street, London - From 'London Theatres and Music Halls' 1850 - 1950' by Diana Howard.

At 4 30 the National Anthem was sung and the curtain was then rung up, and Lady Bancroft advanced upon the stage amid loud cheers. Lady Bancroft said that Dr. Distine-Maddick had long been determined that she should be the first to tread those boards publicly. (Cheers.) It was a matter of sentiment with him, and as a matter of sentiment she was sure they would all think it was appropriate that it should be so (cheers), for on that very ground stood the dear old Prince of Wales's Theatre. (Cheers.) When she had the honour to unlock the door that day to welcome them to that beautiful house it was, let them believe her, with feelings of very deep emotion. Her thoughts went back through the long vista of years, and she remembered the opening night of the dear little theatre over which she used to preside. (Cheers.) She was herself, as it were, but a few minutes before the doors opened on the opening night - how nervously it was!- she was perched on a small ladder nailing up the last muslin curtain. (Laughter.) It was a simple little theatre, but lofty hopes were centred in it, and being young she was not afraid. Lucky for her it was that she possessed so much courage, for at the last moment her friends warned her that the West-end public would never come so far out of their way. Well, time told a different tale. (Cheers.) Indeed, an old apple-woman who used, in former days, to stand outside the old theatre, waited and waited and waited until the performance was over, and when the audience had quite departed, and the lest carriage turned the corner, she gave vent to her feelings in these words "Wal if these is yer haristocrats, give me the rough's! I've only taken 4d. and got a bloomin' cold on the top of it, and all for nothing!" (Laughter and cheers.) The old lady departed and was never seen again. But seriously, if she might venture to own that she had now and then been vain enough to lay such flattering unction to her soul as to believe that some seeds were sown there on ground that proved to be not altogether barren, that, she confessed, was pleasant both to her and to her husband. (Cheers.) It must ever be their pride to recollect that they numbered at various times as members of their company in the little theatre which once stood there her dear old friend Mr. John Hare, Miss Ellen Terry, Mr. and Mrs. Kendal, Mrs. John Wood, Miss Addison - the original Bella in School - Mr. John Clayton, Mr. Arthur Cecil, Mr. Forbes Robertson, and many other distinguished servants of the public. (Cheers.) That day she had compared the modest little house with the grandeur of that beautiful building. But yet very humble parents had often given to the world a genius. There, from the ashes of that tiny theatre, had risen that noble building. She cordially congratulated Dr. Distin-Maddick, and she also cordially congratulated his architect, on the splendid result of what had been all along, she knew, a labour of love. (Cheers.) What the aim and scheme of that theatre was to be she did not know, but were it hers she would work very hard to make it a national theatre where a play by Shakespeare should be acted at least once a week. (Cheers.) That she thought would be a worthy memorial and fitting tribute to the memory of the world's greatest poet. (Cheers.) She could not thank too heartily Dr. Distin-Maddick for all his courtesy, for his respect and regard for the dear old theatre, and with all her heart she wished that the new theatre might inherit the success and honour which were so freely bestowed upon its ancestor. (Loud cheers.)'

The above text in quotes was first published in The Times, 20th December 1904 - Courtesy B.F.

The Scala Theatre, despite the hopes of Lady Bancroft, never really had the success of the previous Theatres on the site although one remarkable event did occur when The London Co-operative Society’s Joint Education Committee sponsored a highly successful week-long run of Handel’s oratorio Belshazzar in an operatic staging, which commenced on the 16th of May 1938.

The production was produced by John Allen and it was the first time that it had been performed in almost 200 years. Alan Bush conducted the 300-strong massed choir and Randall Swingler adapted the original text, shortening it by some 30 minutes, thus simplifying the story and reducing the cast.

The Scala was home, in its later years, to many a famous name, the Theatre even played host to the Beatles who were there for a week filming, inside and out, for a concert for their new film 'A Hard Days Night' in March 1964.

The Scala Theatre was demolished in 1969 to make way for an office building which was named Scala House (Shown Right) in recognition of the site's former occupant.

Right - Scala House, Charlotte Street, London, which now stands on the site of the former Scala Theatre - Photo M.L. 04.

The Scala Theatre by Alan Chudley

I knew the Scala theatre very well during the 1950s; it was not, by far, my favourite theatre, it was too far off the West End track to attract very many professional productions, indeed other than the annual six week run of "Peter Pan" which ran each year from the world war two until the Scala closed, for many years this was the only professional production. The rest of the year the Scala was used for a motley collection of purposes, including musical productions by amateur companies such as the London Transport Players, showcase productions, rehearsals of other professional shows, filming, television & radio recording and trade showings of films.

Right - A programme for 'Peter Pan' at the Scala Theatre in 1951 - Courtesy Alan Chudley.

The Scala lacked the atmosphere of other theatres and seemed a cold and unfriendly theatre. The Stage Door was said to have been the main entrance of the Prince of Wales Theatre which stood on the site prior to the Scala. The back stage: "Pooh-Bar" at the Scala which rejoiced in the sobriquet of "Boggie," who was more or less the resident stage manager cum electrician, was also cold, unfriendly and unhelpful. This splendid man took great delight in showing you his pride and joy; "The Short Sammy," which was a short length of compartment lighting batten which he claimed came from The Oxford Theatre.

For many years the standard lighting system in theatres was from Footlights and overhead battens.When Gaslight was replaced by electricity, colour circuits were then possible. For a long time the lamps for these were 60 watt carbon filament lamps which could be dipped in coloured lacquer. With the coming of gas filled lamps in the 1920s, this was no longer possible, and lead to the introduction of compartment battens whereby each lamp had its own compartment, Sunray reflector and gelatine colour filter. These were first made by Strand Electric at the behest of Adrian Samoiloff, a refugee from Russia, who, using complimentary colours, was able to produce such effects as changing George Robey attired in a Black Diner Jacket to a Negro in Green Striped pyjamas. This became known as "Samoiloff Lighting" and the battens as "Sammie's." Loie Fuller, a famous dancer, used Samoiloff Lighting together with Ultra Violet lighting to great effect. Her Electrician was Percy Boggis ( known in the West End theatres as; " Boggie"). This man was an expert in trick lighting in the 1920s and 1930s and at one time ran his own company. So it would appear that Percy Boggis was to Stage lighting at that date what Percy Court was to stage management.

I am sorry to see any theatre go, but the Scala always was in my time very much a White Elephant. Alan Chudley.

Above - Details from a programme for 'Peter Pan' at the Scala Theatre in 1951 - Courtesy Alan Chudley.

Jacqueline Burton in 'The Merry Widow' at the Scala Theatre in the late 1940s

Above - Jacqueline Burton in a production of 'The Merry Widow' at the Scala Theatre in the late 1940s - Courtesy Helen Burton.

A visitor to the site, Helen Burton, has kindly sent in some photographs of her mother, Jacqueline Burton, performing in 'The Merry Widow' at the Scala Theatre in the late 1940s. Helen writes: ' My mother's name was Jacqueline Burton, her maiden name was Bishop, so at the time she appeared at the Scala Theatre, she would have been Jacqueline Bishop. She was an amateur actress and I guess she must have appeared at the theatre just after the Second World War. She was born on the 11th of January 1930 and died on the 3rd of July 2007. My father recalls going to pick her up after her rehearsals. He says he didn't want to take the chance on any of the rest of the cast walking her home!

Right - Jacqueline Burton and two other members of the cast of 'The Merry Widow' at the Scala Theatre in the late 1940s - Courtesy Helen Burton.

As further background information, my mother also appeared in a film, aged 8, called 'The Londoners' (1939). It was one of the first of the documentary genre by the famous documentary maker, John Grierson, and it was shown in cinemas across the country. She played the dormouse in a scene from Alice in Wonderland in the section on children's education.

Left - Jacqueline Burton in an unknown production at the Scala Theatre in the late 1940s - Courtesy Helen Burton.

She had never seen herself in the film. She remembered filming day but she never knew what became of it. She was evacuated to Exeter and was staying with a Mrs Stone, who came back from the cinema one day and told her she had seen her in a film called the Londoners. So in 2003 I got a copy made for her as a Christmas present and she watched it for the first time.'

Above text in quotes, and photographs Courtesy Helen Burton.

A Programme for a Christmas Pantomime 'Babes in the Wood' at the Scala Theatre