Theatre Royal, Drury Lane - Knowledge (XXG)

438:, and who built a new theatre in Drury Lane. The Letters Patent also granted the two companies a shared monopoly on the public performance of legitimate drama in London; this monopoly was challenged in the 18th century by new venues and by a certain slipperiness in the definition of "legitimate drama," but remained legally in place until 1843. The new playhouse, architect unknown, opened on 7 May 1663 and was known from the placement of the entrance as the "Theatre Royal in Bridges Street." It went by other names as well, including the "King's Playhouse." The building was a three-tiered wooden structure, 112 ft (34 m) long and 59 ft (18 m) wide; it could hold an audience of 700. Set well back from the broader streets, the theatre was accessed by narrow passages between surrounding buildings. 657:

the King's Company merged with the Duke's. The 1674 Theatre Royal building contained a warren of rooms, including storage space and dressing rooms used by the management and performers, nearly seventy people in total, as well as some fifty technical staff members. Additionally three rooms were provided for scripts, including a library for their storage, a separate room for copying actors' parts and a special library for the theatre's account books, ledger books and music scores. This jumble of rooms often made communication among various departments difficult, a problem that Garrick corrected during his tenure as manager. The entire complex occupied 13,134 sq ft (1,220 m) bounded by Drury Lane (east), Brydges Street (west), Great Russell Street (north) and Little Russell Street (south).

737: 1318: 1055: 919: 1195: 645:, built in 1766, whose design was modelled, in part, on Drury Lane's. The site measured 112 ft (34 m) east-west and 59 ft (18 m) north-south. The building was smaller than this, as reliable surveys and maps of the period show three passageways measuring between 5 and 10 ft (1.5 and 3.0 m) wide surrounding the Theatre Royal on three sides. The building probably measured between 40 and 50 ft (12 and 15 m) wide (the average width of all "Restoration" Theatres) and between 90 and 100 ft (27 and 30 m) long. Architect 678:; the benches in the pit where some gentry sat, but also critics and scholars, cost 3 shillings; tradesmen and professionals occupied the first gallery with seats costing 2 shillings, while servants and other "ordinary people", as Misson refers to them, occupied the 1 shilling seats of the upper gallery. Seats were not numbered and were offered on a "first come, first served" basis, leading many members of the gentry to send servants to reserve seats well ahead of performances. The stage was 45 ft (14 m) wide and 30 ft (9.1 m) deep with a 40: 235: 497:(who Pepys called "the best actor in the world") and Charles Hart held out for shares and good contracts in the King's Company. Such a division of power between the patentee, Killigrew, and his chief actors led to frequent conflicts that hampered the Theatre Royal as a business venture. Nevertheless, it was mostly at the struggling Theatre Royal, rather than at the efficiently run Lincoln's Inn Fields, that the plays were acted that are classics today. This applies especially to the new form 1442: 121: 1123: 2505:(1970). David Wilmore (Theatresearch) and Professor David Thomas recorded a television programme, from inside the current Drury Lane auditorium, claiming to show how the Theatre Royal might have looked upon its opening in 1674, based on the drawing. During the programme, Thomas repeatedly described this drawing as "by Wren", without noting that Wren's signature does not appear on the drawing. Most recently, for example, supervisors of Graduate College of 469:, which also served as a visual frame for the on-stage happenings. The picture-frame-like separation between audience and performance was a new phenomenon in English theatre, though it had been found on the Continent earlier. Theatre design in London remained ambivalent about the merits of the "picture-box" stage, and for many decades to come, London theatres including Drury Lane had large forestages protruding beyond the arch, often including the 1348:, but the patent had been largely toothless for decades and this had little immediate effect. On the other hand, other theatres, used to presenting musical entertainments, continued to do so, and Drury Lane continued as one of the most accepted venues for legitimate theatre. The 19th-century run of financial and artistic failures at Drury Lane was interrupted by four plays produced over a twenty-five-year period by the actor-playwright 989: 396: 5641: 546: 580: 2274:"Apparently the King's Company had no strong, centralized management ... Of course Killigrew would have had trouble getting Mohun's troupe to accept the kind of absolute control Davenant was able to impose upon his fledglings. But squabbles over management and shares were to characterize the King's Company throughout its stormy career, and ultimately they led to its downfall". 683:

pair of girondels – large wheels holding many candles used to counteract the light from the footlights. Towards the latter part of the 18th century, doors were placed on either side of the stage, and a series of small spikes traced the edge of the stage apron to prevent audiences from climbing onto the stage. At the very back of the stage, a wide door opened to reveal Drury Lane.

279:. The present building, opened in 1812, is the most recent of four theatres that stood at the location since 1663, making it the oldest theatre site in London still in use. According to the author Peter Thomson, for its first two centuries, Drury Lane could "reasonably have claimed to be London's leading theatre". For most of that time, it was one of a handful of 5653: 768:, and it turned out the success the company needed. Christopher Rich continued as its head until 1709, when the patent in question was actually revoked amid a complex tangle of political machinations. A lawyer named William Collier was briefly given the right to mount productions in Drury Lane, but by 1710 the troupe was in the hands of the actors 666:

toy, play, hear, hear not. Farther up, against the Wall, under the first Gallery and just opposite to the Stage, rises another Amphitheatre, which is taken by persons of the best Quality, among whom are generally very few Men. The Galleries, whereof there are only two Rows, are fill'd with none but ordinary People, particularly the Upper one.

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theatre tended more toward spectacle than the spoken word. An example of such a spectacle is a 1794 production that featured real water flowing down a rocky stream into a lake large enough on which to row a boat. This water issued from tanks in the attics above the house, which were installed – along with a much-touted iron

3209:, ed. van Thal 1972, p. 283) states that Sheridan was engaged in a debate in the House when the news of the fire came, but although on his behalf it was moved that the House should adjourn, he insisted that 'Public duty ought to precede all private interest' and remained there with Roman fortitude while his theatre burned. 1528:

On 15 May 2013, Lloyd Webber revealed a £4 million restoration of the theatre to mark its 350th anniversary. Using a team of specialists, the detailed restoration has returned the public areas of the Rotunda, Royal Staircases and Grand Saloon, all of which were part of the 1810 theatre, to their

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Richard Sheridan continued as theatre owner during the entire lifetime of this third building. He had grown in stature as a statesman during this time, but troubled finances were to be his undoing. The 1794 rebuilding had cost double the original estimate of £80,000, and Sheridan bore the entirety of

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I was aware of the very popular notion that our theatres ought to be very small; but it appeared to me that if that very popular notion should be suffered to proceed too far it would in every way deteriorate our dramatic performances depriving the proprietors of that revenue which is indispensable to

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from the footlights to the backdrop. The angle of the rake rose one inch for every 24 in (610 mm) of horizontal stage. The stage floor included grooves for wings and flats in addition to trap doors in the floor. The proscenium arch covered the stage equipment above the stage that included a

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The King's Company never recovered financially from the loss of the old Theatre Royal Bridges Street. The cost of constructing the new theatre, replacing their costumes and scenery lost in the fire and competitive pressure from the rival Duke's Company contributed to its decline. Eventually, in 1682,

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cloth covered the benches in the pit and served to decorate the boxes (additionally ornamented with gold-tooled leather) and even the stage itself. The backless green benches in the pit were in a semicircular arrangement facing the stage, according to a May 1663 letter from one Monsieur de Maonconys:

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Performances usually began at 3 pm to take advantage of the daylight: the main floor for the audience, the pit, had no roof in order to let in the light. A glazed dome was built over the opening, but according to one of Pepys' diary entries, the dome was not entirely effective at keeping out the

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The house is made with extraordinary good contrivance, and yet hath some faults, as the narrowness of the passages in and out of the Pitt, and the distance from the stage to the boxes, which I am confident cannot hear; but for all other things it is well, only, above all, the musique being below, and

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developed and refined the famous scenes of repartee, banter and flirtation in Dryden's and Wycherley's comedies. With the appearance of actresses for the first time at Drury Lane and Lincoln's Inn Fields in the 1660s, British playwrights wrote parts for outspoken female characters, daring love scenes

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in an argument over a wig ("Goddamn you for a blackguard, scrub, rascal!" he shouted, thrusting a cane into Hallam's face and piercing his left eye). Grimaldi is reported to be a helpful apparition, purportedly guiding nervous actors skillfully about the stage on more than one occasion. The comedian

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The Pit is an Amphitheatre, fill'd with Benches without Backboards, and adorn'd and cover'd with green Cloth. Men of Quality, particularly the younger Sort, some Ladies of Reputation and Virtue, and abundance of Damsels that haunt for Prey, sit all together in this Place, Higgledy-piggledy, chatter,

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New technology facilitated the expansion: iron columns replaced bulky wood, supporting five tiers of galleries. The stage was large, too: 83 ft (25 m) wide and 92 ft (28 m) deep. Holland, the architect, said it was "on a larger scale than any other theatre in Europe." Except for

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facade facing Bridges Street. This facade was the first time any structure that might be considered part of the theatre proper actually abutted the street: the building, like the 1663 original, had been built in the centre of the block, hemmed in by other structures. The narrow passage from Bridges

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crisis distracting potential audiences from things theatrical. This affected both the King's and the Duke's companies, but most of all the King's which had no profit margin to carry them through the lean years. In 1682, the companies merged, or rather, the King's was absorbed by the Duke's. Led at

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The author Tom Ogden calls the Theatre Royal one of the world's most haunted theatres. The appearance of almost any one of the handful of ghosts that are said to frequent the theatre signals good luck for an actor or production. The most famous ghost is the "Man in Grey", who appears dressed as a

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and their likes, he helped to see the Theatre Royal through its next catastrophe. On 24 February 1809, despite the previously mentioned fire safety precautions, the theatre burned down. On being encountered drinking a glass of wine in the street while watching the fire, R.B. Sheridan was famously

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The disproportion was so great at parting, that it was almost impossible, in Drury Lane, to muster up a sufficient number to take in all the parts of any play; and of them so few were tolerable, that a play must of necessity be damned, that had not extraordinary favour from the audience. No fewer

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From 1674, theatregoers accessed the Drury Lane via a long ten-foot-wide passageway from Bridges Street. The passageway opened onto a yard (previously a "Riding Yard") in which the theatre stood. It is likely that the yard remained open to the sky at this date, on three sides of the Theatre Royal

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leader of the triumvirate, and he led the theatre through a controversial but generally successful period until 1733, when he sold his controlling interest to John Highmore. It is likely that the sale was at a vastly inflated price and that Colley's goal was simply to get out of debts and make a

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struck in the summer of 1665, and the Theatre Royal, along with all other public entertainment, was shut down by order of the Crown on 5 June. It remained closed for 18 months until the autumn of 1666, during which time it received at least a little interior renovation, including widening of the

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in 1803). Not only was any sense of intimacy and connection to the company on stage lost, but the very size of the theatre put a great deal of the audience at such a distance from the stage so as to make hearing a player's voice quite difficult. To compensate, the productions mounted in the new

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Neither Davenant's nor Killigrew's sons were much better than crooks, and Rich attempted to recoup their depredations of the company's resources by cost-cutting tyranny, pitting actor against actor and slashing salaries. By 1695, the actors, including day-to-day manager and acting legend Thomas

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In 1791, under Sheridan's management, the building was demolished to make way for a larger theatre which opened in 1794. This new Drury Lane survived for 15 years before burning down in 1809. The building that stands today opened in 1812. It has been the residency of well known actors including

1463:, the theatre underwent its last major interior renovation of the 20th century. At a cost of £150,000, it became a four-tiered theatre able to seat just over 2,000 people. It was decorated with one of the most notable interiors produced by the specialist ornamental plasterwork company of 1037:

The "very popular notion that our theatres ought to be very small" proved hard to overcome. Various accounts from the period bemoan the mammoth size of the new theatre, longing for the "warm close observant seats of Old Drury," as one May 1794 theatregoer put it. Actress

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hat, a dress jacket and cloak or cape, riding boots and a sword. Legend says that the Man in Grey is the ghost of a knife-stabbed man whose skeletal remains were found within a walled-up side passage in 1848. Various people have reported seeing the ghost, including

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During the 20th century, one illustration was repeatedly – and wrongly – published as "Christopher Wren, design for the Theatre Royal Drury Lane, 1674". Since 1964, this presumption has been disputed by scholars. Careful inspection of the drawing at

867:. Garrick served as manager and lead actor of the theatre until roughly 1766 and continued on in the management role for another ten years after that. He is remembered as one of the great stage actors and is especially associated with advancing the 480:

Killigrew's investment in the new playhouse put the two companies on a level as far as technical resources were concerned, but the offerings at the Theatre Royal nevertheless continued to be dominated by actor-driven "talk" drama, contrasting with

559:"All benches of the pit, where people of rank also sit, are shaped in a semi-circle, each row higher than the next." The three galleries formed a semicircle around the floor seats; both the first and second galleries were divided up into boxes. 4090:"Breaking Baz: Sigourney Weaver Conjures Spells For West End Debut As Prospero, Joining Tom Hiddleston & Hayley Atwell In A Season Of Shakespeare Directed By 'Sunset Boulevard's' Jamie Lloyd At Theatre Royal Drury Lane This Winter" 2459:

describes a visit to the play house during the renovations, noting "God knows when they will begin to act again." For the royal order closing the playhouses see Latham & Matthews 'Diary of Samuel Pepys,' vol vii (1666), p. 76 note

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The theatre pictured as it was in 1809 (from an 1811 engraving). The view is from the north-east, looking down Russell Street at its intersection with Drury Lane. This shows the rear of the theatre with its dressing rooms and stage

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in the title role. The new theatre made some concessions toward intimacy, seating 3,060 people, about 550 fewer than the earlier building (though this size is still considered an extremely large theatre). On 6 September 1817,

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allowed Hope Celeste Bernar to inadvertently reproduce it on page 108 of her "Playing (with) Space in the Author on the Wheel." Diss. PhD. May 2009 as "Wren's drawing provides detailed evidence of Theatre Royal Drury Lane's

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Betterton, were alienated and humiliated enough to walk out and set up a cooperative company of their own. Nine men and six women departed, all of them established professional performers, including such draws as tragedian

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than sixteen (most of the old standing) went away; and with them the very beauty and vigour of the stage; they who were left being for the most part learners, boys and girls, a very unequal match for them that revolted.

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reported to have said: "A man may surely be allowed to take a glass of wine by his own fireside." Already on the shakiest financial ground, Sheridan was ruined entirely by the loss of the building. He turned to brewer

3958: 493:. Internal power structures were the main reason for this difference: while Davenant skilfully commanded a docile young troupe, Killigrew's authority over his veteran actors was far from absolute. Experienced actors 309:. In 1672, the theatre caught fire and Killigrew built a larger theatre on the same plot, renamed the "Theatre Royal in Drury Lane"; it opened in 1674. This building lasted nearly 120 years, under the leaderships of 757:

A private letter from 19 November 1696 reported that Drury Lane "has no company at all, and unless a new play comes out on Saturday revives their reputation, they must break." The new play is assumed to have been

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walls. Henri Misson, a visitor from France, offers a description of the theatre in 1698: his use of the word "amphitheatre" supports the view that Drury Lane had a circular line of boxes surrounding its pit:

518:. In any case, the competition between the King's Company and the Duke's was good for the rebirth and development of English drama. The King himself frequently attended the theatre's productions, as did 5891: 871:

tradition in English theatre – during his time at Drury Lane, the company mounted at least 24 of Shakespeare's plays. Some of Shakespeare's surge in popularity during this period can be traced to the

875:, which mandated governmental approval of any play before it could be performed and thereby created something of a vacuum of new material to perform. Garrick shared the stage with company including 3928: 5841: 1959:, who described its usual path as starting at the end of the fourth row in the upper circle and then proceeding via the rear gangway to the wall near the royal box, where the remains were found. 1506:. Since 2014, it has been owned and managed by LW Theatres, Lloyd Webber's management company. The seating plan for the theatre remains the same and the auditorium is still one of the largest in 1024:

who were involved in the design process. This was a cavernous theatre, accommodating more than 3,600 spectators. The motivation behind building on such a large scale? In the words of one owner:

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There were those concerned that the theatre was failing in its role as one of the very few permitted to show legitimate drama. Management of the theatre after it reopened in 1813 fell to

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After standing only 15 years, the third Drury Lane theatre building burned down on 24 February 1809. This painting from the period, artist unknown, shows the view of the fire from the

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free access to the upper gallery led to riots in 1737, and Fleetwood's gambling problems entangled the theatre in his own financial difficulties. It was during this period that actor

477:. The players could still step forward and bridge the distance between performer and audience, and in addition, it was not unusual for audience members to mount the stage themselves. 3627: 4181: 3127: 1374:'s 1878 resignation; in his words, "Shakespeare spells ruin, and Byron bankruptcy." During the 19th century, Drury Lane staged ballet as well, with performers including Italy's 980:, which confirmed him as a key Christmas pantomime performer. Many pantomimes followed, but his career at Drury Lane became turbulent, and he left the theatre for good in 1806. 5826: 630:], which may have been added by a librarian or by anyone else. No sign of a signature (by Wren or anyone else) or a date appears anywhere on the drawing. Robert D. Hume of 5906: 5691: 3954: 3613: 2021:

The single roadway now named Catherine Street was for most of its history named Catherine Street in its southern portion and Bridges (or Brydges) street in its northern.

1420:(1888), and many of the pantomimes. Productions relying on spectacle became the norm at Drury Lane under the managements first of Harris, from 1879 to 1896, and then of 1010: 373:. Since January 2019, the venue has had ongoing renovations, and in July 2021, the theatre reopened after over two years' of extensive work and closures related to the 5901: 3704: 1438:, Director of Music from 1893 to 1923, was a significant figure at the theatre during the Collins years and wrote books which record much more than its musical life. 5856: 5831: 301:. Initially known as "Theatre Royal in Bridges Street", the theatre's proprietors hired prominent actors who performed at the theatre on a regular basis, including 707:, the original patent holder for the Duke's Company. Davenant's management (with Charles Killigrew) proved brief and disastrous, and by 1693 he was fleeing to the 522:, whose private diaries provide much of what we know of London theatre-going in the 1660s. The day after the Theatre Royal opened, Pepys attended a performance of 1807: 5836: 3548: 1970:

are also supposed to haunt the theatre. Macklin appears backstage, wandering the corridor which now stands in the spot where, in 1735, he killed fellow actor

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that the so-called "Wren section" at All Souls represents this theatre. It could just as easily be a discarded sketch unconnected to Drury Lane in any way."

2424: 2411: 1895: 1654: 1479: 46: 2740: 2242: 3920: 3587: 2178: 1314:(1843). Macready was briefly manager in 1841–1843, putting significant reforms in place. Nevertheless, most productions there were financial disasters. 3882: 3856: 3745: 2554: 2105: 1240:

gained control of both Drury Lane and Covent Garden, managing the former from 1833 to 1839, and again from 1843 to 1850. Following the lead of the

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that still stands at the theatre's front entrance on Catherine Street was added, and in 1822 the interior underwent a significant remodelling. The

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had a finale featuring a horseback escape up a flowing cataract "with fire raging all around." Effects for an 1829 production were produced by

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the debt. Productions were more expensive to mount in the larger structure, and increased audience revenues failed to make up the difference.

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The theatre was in need of updating by the end of the 18th century and was demolished in 1791, with the company moving temporarily to the new

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Productions relying more on scenery and effects than on dialogue and acting remained commonplace in the new facility. The 1823 production of

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fired two pistol shots from the pit toward the King, sitting in the royal box. The shots missed by inches, Hadfield having been jostled by a

2539:, 65.2, (2011), 62–81 have each separately weighed the evidence, concluding that the theatre shown in the drawing was probably never built. 1408:. These spectacular Christmas shows were a major success, often playing into March. They were choreographed by the theatre's dance master, 541:

most of it sounding under the very stage, there is no hearing of the bases at all, nor very well of the trebles, which sure must be mended.

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in 1777. Active management of the theatre was carried out by several parties during Sheridan's ownership, including himself, his father

815: 4248: 2801: 1317: 848:, in which he introduced a realistic, naturalistic style of acting, abandoning the artificial bombast typical of dramatic roles prior. 441:

The King's Company was forced to commission the technically advanced and expensive Theatre Royal playhouse by the success of the rival

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that could be smoothly changed between or even within acts. When not in use, the shutters rested out of sight behind the sides of the

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With a series of farewell performances, Garrick left the stage in 1776 and sold his shares in the theatre to the Irish playwright

5846: 4928: 4753: 3605: 3390: 2982: 2634: 2055: 1421: 1071: 935: 2612:(Society for Theatre Research, 1976), 8; and Mark A. Howell, "Planning Provincial Theatres Under the 1737 Stage Licensing Act", 1187:, premiering in the role in 1814. Kean remained until 1820 through praise and notorious disputes with local playwrights such as 699:, the United Company, as it was now called, chose Drury Lane as their production house, leaving the Duke's Company's theatre in 1636: 1218: 1204: 4618: 4178: 2456: 5363: 4730: 2506: 962:

who made his stage debut at the theatre in 1780. Grimaldi became best known for his development of the modern day white-face

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was extended from the audience area to the stage, making it the first British theatre to be gaslit throughout. In 1820, the

3701: 3980: 1176: 1175:, overseen by an amateur board of directors and a subcommittee focusing on the theatre as a centre for national culture. ( 899:, and Ned Shuter. It was under Garrick's management that spectators were for the first time barred from the stage itself. 5656: 3567: 2995: 2647: 1545:'s musicals made their London debuts in Drury Lane, holding the stage almost continuously for nearly a decade, including 5508: 4792: 2919: 1783: 1471:, immensely popular in his time though little-remembered today, presented his musicals in Drury Lane from 1931 to 1939. 1194: 938:), completed their purchase of Drury Lane two years later, and Sheridan owned it until 1809. Sheridan premiered his own 77: 1244:, Bunn championed English opera, rather than the Italian operas that had played earlier at the theatre. These included 1042:, then part of the Drury Lane company, called it "a wilderness of a place" (and left Drury Lane along with her brother 5645: 5408: 5303: 5165: 4847: 4746: 1871: 795: 671: 474: 2382: 868: 3545: 915:

street to the theatre now became an interior hallway; some theatre office space also went up behind the new facade.

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An added difficulty for Killigrew and his sons Thomas and Charles was the political unrest of 1678–1684 with the

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Through most of the remainder of the 19th century, Drury Lane passed quickly from one proprietor to another. A

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Auburn, Mark S. (1995). "Theatre in the age of Garrick and Sheridan". In Morwood, James; Crane, David (eds.).

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designed Drury Lane's 1674 interior. The theatre was managed, from 1747 to Adam's retirement in the 1770s, by

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to renovate the theatre's interior, which they did in 1775. Their additions included an ornate ceiling and a

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location of the Theatre Royal on a map of London from 1700; the inset shows the streets as they are in 2006.

532: 490: 486: 454: 450: 39: 4115: 3842: 3730: 457:. Imitating the innovations at Lincoln's Inn Fields, the Theatre Royal also featured moveable scenery with 5861: 5740: 5561: 5543: 5383: 5268: 5107: 5077: 5035: 4994: 4860: 4817: 1997: 1927: 1241: 1086: 943: 907: 844: 818:

came to control the theatre. Fleetwood's tenure was tumultuous; his abolition of the practice of allowing

642: 563: 418:, which had seen the banning of pastimes regarded as frivolous, such as theatre, the English monarchy was 2113: 1381:

One famous musical director of Drury Lane was the eccentric French conductor and composer of light music

814:). Members of the troupe at the time were most displeased; an actor's revolt was organised and executed; 571:, which raged through the City in September 1666, but it burned down six years later on 25 January 1672. 5732: 5528: 5463: 5418: 5403: 5378: 5338: 5278: 5243: 5145: 4989: 4923: 4870: 4812: 4724: 3575: 2532: 2524: 1971: 1903: 1823: 1618: 1382: 1294:, the gifted actor-manager in several Shakespeare plays. He also created the role of Captain Channel in 1102: 896: 859:

In 1747, Fleetwood's playhouse patent expired. The theatre and a patent renewal were purchased by actor

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closed for a time. In 1688, Betterton was removed from managerial control by Alexander Davenant, son of

700: 631: 423: 359: 1082:. Hadfield was quickly subdued, and George, apparently unruffled, ordered the performance to continue. 998: 1344:

The theatrical monopoly first bestowed by Royal Letters Patent 183 years earlier was abolished by the

955:. Linley took up the post of Musical Director at the theatre, receiving a retainer of £500 per annum. 5795: 5478: 5443: 5393: 5258: 5238: 5170: 4890: 4406: 4400: 2535:), 2007; Tim Keenan '"Scaenes With Four Doors": Real And Virtual Doors On Early Restoration Stages', 2489: 2483: 1703: 1530: 1507: 1464: 1431: 799: 568: 4002: 3516:

Survey of London: volume 35: The Theatre Royal, Drury Lane, and the Royal Opera House, Covent Garden

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elements: he and his wife were forced to leave the theatre to take refuge from a hail storm. Green

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Survey of London: Vol. 35, the Theatre Royal, Drury Lane, and the Royal Opera House, Covent Garden

674:, and tickets were priced accordingly. Box seats, used by the nobility and wealthy gentry, cost 5 5538: 5333: 5288: 5253: 5004: 4827: 1935: 1719: 1687: 1603: 1553: 1262: 1106: 1059: 1043: 1002: 952: 872: 864: 745: 498: 446: 419: 298: 284: 120: 4670: 4662: 1122: 855:

The facade on Bridges Street. Added in 1775, this gave the theatre its first on-street entrance.

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on Drury Lane was targeted by rioting apprentices on 4 March 1617. After the eleven-year-long

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was briefly on this subcommittee, from June 1815 until leaving England in April 1816.) Actor

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It was published by Hamilton Bell, "Contributions to the History of the English Playhouse,"

1911: 1695: 1660: 1570: 1475: 1371: 1134:

on behalf of the committee led by Whitbread, opened on 10 October 1812 with a production of

1079: 884: 724: 704: 696: 588: 523: 482: 431: 399: 384: 378: 342: 294: 272: 252: 151: 68: 711:

in the wake of embezzlement charges. The Theatre Royal found itself in the hands of lawyer

5748: 5611: 5601: 5596: 5523: 5518: 5323: 5308: 5293: 5125: 5092: 5072: 5067: 4984: 4979: 4951: 4908: 4865: 4855: 4807: 4252: 4220: 4185: 3805: 3708: 3685: 3658: 3634: 3571: 3552: 3486: 3349: 2947: 2865: 2597: 2561: 2386: 2343: 2246: 1967: 1963: 1791: 1496: 1426: 1393: 1349: 1322: 1307: 1295: 1283: 988: 976: 959: 880: 823: 750: 720: 458: 407: 322: 256: 144: 3955:"Charlie And The Chocolate Factory Celebrates 1000th Performance, Extends Booking Period" 1409: 2858: 567:

stage. Located well to the west of the City boundary, the theatre was unaffected by the

234: 5772: 5591: 5498: 5348: 5135: 5130: 4974: 4966: 4640: 4564: 4551: 4447: 4312: 4289: 2940: 1976: 1767: 1735: 1565: 1483: 1375: 1366: 1233: 1098: 1075: 1048: 892: 851: 831: 781: 777: 708: 691: 679: 427: 280: 3386: 2051: 395: 5810: 5669: 5373: 5263: 4837: 2555:"Acting Spaces and Carpenters' Tools: from the Fortune to the Theatre Royal, Bristol" 2431:

Restoration and Georgian England 1660–1788 (Theatre in Europe: A Documentary History)

1855: 1799: 1612: 1517: 1396:

from 1879. In the 1880s and 1890s, the theatre hosted many of the productions of the

1287: 1257: 1188: 1039: 1009:

and opened on 12 March 1794. In the design of the theatre boxes, Henry Holland asked

860: 769: 759: 740: 650: 515: 494: 430:

to two parties licensing the formation of new acting companies. One of these went to

387:

debut at Drury Lane on 27 August, with general shows starting from 8 September 2021.

314: 310: 287: 260: 3169:, abridged with a Biographical Index (Folio Society, London 1972), pp. 282–288. 2523:

18 (1964), 98; Graham Barlow "From Tennis Courts to Opera House", PhD thesis, 1983,

545: 5473: 5448: 5248: 5195: 5160: 5140: 5117: 5020: 4622: 1847: 1743: 1598: 1575: 1488: 1468: 1435: 1253: 1217:

Elliston leased the theatre from 1819 until he went bankrupt in 1826. An American,

1146: 971: 791: 773: 579: 519: 470: 353: 338: 4210:

Celebrated Trials of All Countries, and Remarkable Cases of Criminal Jurisprudence

3011: 2663: 17: 3245: 3180: 290:(meaning spoken plays, rather than opera, dance, concerts, or plays with music). 5493: 5358: 5223: 5185: 5082: 1919: 1831: 1624: 1460: 1334: 1330: 1237: 1180: 903: 888: 786: 764: 687: 646: 506: 365: 330: 4723: 2991: 2643: 1430:, which featured not only a train crash, but also twelve horses recreating the 1183:

was the on-stage highlight; like Macklin before him, he made his reputation as

5724: 5716: 5503: 4999: 3564: 2973: 2628: 2577:

Hume, Robert D. "Theatre History 1660–1800: Aims, Materials, Methodology", in

1679: 1413: 1165: 1126:

The present-day Theatre Royal in Drury Lane, sketched when it was new, in 1813

1017: 596: 466: 276: 2915: 922:

The interior of the third and largest theatre to stand at Drury Lane, c. 1808

99: 86: 5228: 5200: 3466: 1711: 1547: 1412:. Many of the designs under Harris were created by the imaginative designer 1401: 1299: 1229: 1154: 967: 827: 510: 445:, which was drawing fascinated crowds with their "moveable" or "changeable" 347: 302: 3679:"Andrew Lloyd Webber reveals £4m restoration of Drury Lane's Theatre Royal" 1510:. It is one of the 40 theatres featured in the 2012 DVD documentary series 369:, the theatre's longest-running show. The theatre is owned by the composer 3727:

The show transferred in 1950 to the Stoll Theatre to finish its long run.

2379: 2581:, ed. Michael Cordner and Peter Holland, Palgrave Macmillan (2007), p. 23 1980: 1951: 1579:, which began a five-year run in 1958. Productions in the 1960s included 1405: 1326: 1274: 675: 624:

Library shows that it has one pencil inscription: "Play house" [

334: 1157:

running down the Russell Street side of the building was added in 1831.

3546:

Historic Machinery Restorations at London's Royal Theatre in Drury Lane

3479: 1879: 1642: 1446: 1386: 1184: 1150: 958:

Sheridan employed dozens of children as extras at Drury Lane including

839: 819: 268: 4026:"Bonnie Langford joins cast of 42nd Street and closing date announced" 2706:, Volume 35, London: Athlone Press, University of London (1970), p. 30 2579:

Players, Playwrights, Playhouses: Investigating Performance, 1660–1800

780:– a triumvirate that eventually found themselves sharply satirised in 641:

Comparative evidence for Drury Lane's 1674 design can be found in the

4738: 4566:

Thomas Betterton and the Management of Lincoln's Inn Fields 1695–1708

1136: 911: 835: 264: 64: 3628:"Lord Lloyd-Webber splits theatre group to expand on a global stage" 3443: 2610:

The Theatre Royal Bristol, 1766–1966: Two Centuries of Stage History

345:, the theatre has primarily hosted long runs of musicals, including 297:

in the early 1660s, when theatres were allowed to reopen during the

743:, the theatre manager 1747–1776, is portrayed in the title role of 5513: 1440: 1316: 1193: 1121: 1053: 987: 963: 917: 850: 735: 578: 555: 544: 394: 794:

replaced Doggett. On 2 March 1717 was the premiere of the ballet

4449:

The Development of English Drama in the Late Seventeenth Century

3925:

closes on 24 Feb, Charlie moves Chocolate Factory to Drury Lane"

3376:, full score, Introduction, vol. I, p. VII, 2008, The Amber Ring 3205:

The Oxford Dictionary of Quotations, OUP (1999). Michael Kelly (

1232:

was added to the Russell Street frontage, in 1831, by architect

634:

explained that use of the drawing "rests almost entirely on the

5673: 4742: 4208:

From the testimony of witness Thomas Arne, reported in 1847's

3489:, Victoria and Albert Museum, 2012, accessed 24 September 2014 1482:, sustaining some minor bomb damage. It reopened in 1946 with 1474:

The theatre was closed in 1939 because of the outbreak of the

626: 4310:

Bradby, David; James, Louis; Sharratt, Bernard, eds. (1981).

3521:"The Theatre Royal: Management | British History Online" 3246:"Theatres Compete in Race to Install Gas Illumination – 1817" 1404:, beginning at Christmas 1888, adding a well-known comedian, 1400:. Harris focused increased resources on the theatre's annual 1290:(1804–1878) joined the company at Drury Lane, appearing with 951:, and, from 1788 to 1796 and 1800 to 1802, the popular actor 4646:. Carbondale, Illinois: Southern Illinois University Press. 4570:. Carbondale, Illinois: Southern Illinois University Press. 1168:

apparatus that reportedly could discharge 39 tons of water.

4335:

Drury Lane: Three Centuries of the Theatre Royal, 1663–1971

1950:

nobleman of the late 18th century: powdered hair beneath a

1370:(1875). But this period of general decline culminated with 4405:(4th ed.). London: Oxford University Press. pp. 2591:"Chapter IV. The Theatre Royal, Drury Lane: The Buildings" 2337:"Violently Erotic: Representing Rape in Restoration Drama" 4363:

Louis Jullien: musique, spectacle et folie au XIXe siècle

293:

The first theatre on the site was built at the behest of

275:(earlier named Bridges or Brydges Street) and backs onto 4083: 4081: 2892:

Complete Works of Robert and James Adam and Unbuilt Adam

1478:. During the war, it served as the headquarters for the 1392:

The house's fortunes rose again under the management of

838:) rose to fame, propelled by a singular performance as 802:, and was the first ballet to be performed in England. 5892:

Rebuilt buildings and structures in the United Kingdom

4688:

Underwood, Peter (2013). "Theatre Royal, Drury Lane".

1610:

Later long runs at the theatre include productions of

1013:

for assistance. The designs by Linnell survive in the

3702:

Locker & Riley complete restoration at Drury Lane

1130:

The present Theatre Royal in Drury Lane, designed by

4056:"Frozen confirms new opening plans from August 2021" 3606:"A Major New Role As Theater Mogul For Lloyd Webber" 3555:, Dorothea Restorations. Retrieved 22 February 2014. 974:. Towards the end of the 1790s, Grimaldi starred in 863:(who had trained under Macklin earlier) and partner 5842:

Grade I listed buildings in the City of Westminster

5783: 5708: 5552: 5209: 5116: 5058: 5013: 4965: 4942: 4899: 4846: 4783: 4774: 4638:Stone, George Winchester; Kahrl, George M. (1979). 3565:

Joseph Bernard Clark (1868–1940) – Master Plasterer

3305: 3293: 3098: 1502:In 2000, Theatre Royal Drury Lane was purchased by 1424:from 1896 to 1923. Examples include the 1909 play, 1089:became acting manager in 1802. With Sheridan's son 810:profit (see Robert Lowe in his edition of Cibber's 391:

First theatre: Theatre Royal, Bridges Street (1663)

212: 184: 165: 160: 150: 140: 130: 115: 76: 58: 4639: 4586: 4563: 4550: 4446: 4311: 4288: 4143:The Complete Idiot's Guide to Ghosts and Hauntings 3770: 3768: 3766: 2627: 1459:In 1922, under the ownership of managing director 1389:to visit London and give concerts in the Theatre. 3914: 3912: 1628:(1989–1999, the theatre's longest-running show), 1034:churches, it was the tallest building in London. 670:As Misson points out, the seating was divided by 5867:Georgian architecture in the City of Westminster 3424:Pasi, Mario; et al. (1980). Aguilar (ed.). 3167:Solo Recital: The Reminiscences of Michael Kelly 3070: 3068: 3066: 2604:, ed. F H W Sheppard (London, 1970), pp. 40–70. 1537:Major productions of the 20th and 21st centuries 575:Second theatre: Theatre Royal, Drury Lane (1674) 509:. Actors such as Hart and Charles II's mistress 449:and visually gorgeous productions at the former 4430:. Westport, Conn.: Greenwood Publishing Group. 4116:"Disney's Hercules Will Play London's West End" 4003:"Theatre Royal Drury Lane History and Timeline" 3145:. University of California Press. p. 287. 3036: 3024: 2519:E. A. Langhans "Wren's Restoration Playhouse", 1026: 729: 663: 538: 283:, granted monopoly rights to the production of 3981:"Frozen sets closing date and final extension" 3673: 3671: 1808:Sweeney Todd: The Demon Barber of Fleet Street 1667:Notable productions since 1919 have included: 1020:– there are also designs by Henry Holland and 5685: 4754: 4272:. Cambridge University Press. pp. 7–46. 2527:, 100; Mark A. Howell "On proscenium doors", 2443: 1655:Charlie and the Chocolate Factory the Musical 8: 3948: 3946: 3800: 3798: 3588:Images of England: Theatre Royal, Drury Lane 3442:. Louisjullien.site.voila.fr. Archived from 3426:El Ballet Enciclopedia del Arte Coreográfico 3143:The Lives of the Kings and Queens of England 2986:(online ed.). Oxford University Press. 2638:(online ed.). Oxford University Press. 1569:(1953–1956). American imports also included 1029:defray the heavy expenses of such a concern. 32: 5827:Buildings and structures demolished in 1791 3876: 3874: 3723: 3721: 3692:, 15 May 2013, retrieved 22 September 2014. 3322:. Cambridge University Press. p. 135. 2843: 2841: 2839: 2837: 2835: 2833: 2831: 2158: 2156: 2099: 2097: 2095: 2093: 2091: 2089: 2087: 2085: 1480:Entertainments National Service Association 603:: Four pairs of shutters across the stage. 5907:Companies based in the City of Westminster 5692: 5678: 5670: 4780: 4761: 4747: 4739: 3086: 3074: 2877: 2727: 2691: 2679: 2487:XXXIII (1913) in plate 5a in Volume 35 of 1074:took place at the theatre on 15 May 1800. 966:and popularised the role of Clown in many 934:and Doctor James Ford (court physician to 233: 38: 31: 4314:Performance and Politics in Popular Drama 4196: 3887:Closes at Drury Lane 8 Jan, Moody Guests" 3510: 3508: 2941:Encyclopædia Britannica, Eleventh Edition 2859:Encyclopædia Britannica, Eleventh Edition 2608:Leacroft (1973), p. 95; Kathleen Barker, 2568:, Vol. 25, Issue 2, May 2009, pp. 148–158 2433:. Cambridge University Press. p. 66. 2398: 2162: 1198:The last scene of an 1865 performance of 44:Exterior of venue during a production of 27:West End theatre in Covent Garden, London 4490:The Development of the English Playhouse 4427:The Rodgers and Hammerstein Encyclopedia 3810:at Theatre Royal, Drury Lane, 2004–2007" 3360: 3343:The Works of Lord Byron, footnote p. 202 2847: 2675: 2673: 2503:The Development of the English Playhouse 2183:The Development of the English Playhouse 2174: 505:and the Theatre Royal's house dramatist 5902:Leisure companies of the United Kingdom 4669:. Cambridge University Press. pp. 4382:Interpreting Sexual Violence, 1660–1800 4024:Wood, Alex; Hewis, Ben (13 July 2018). 3837: 3835: 3774: 3502:(Oxford University Press, 1991), p. 228 3411: 3281: 3057: 2983:Oxford Dictionary of National Biography 2978:Oxford Dictionary of National Biography 2894:. Architectural Press. pp. 50–51. 2784: 2772: 2752: 2635:Oxford Dictionary of National Biography 2457:s:Diary of Samuel Pepys/1666/March#19th 2367: 2275: 2262: 2147: 2076: 2043: 2014: 337:and the musical composer and performer 5857:Reportedly haunted locations in London 5832:Commercial buildings completed in 1812 4612:. Cambridge: Harvard University Press. 3232: 3110: 2959: 2715: 2549: 2547: 2545: 2227: 1385:(1812–1860), who successfully invited 4529:The Pantomime Life of Joseph Grimaldi 3616:from the original on 4 February 2018. 3527:from the original on 23 February 2014 3500:The Oxford Companion to Popular Music 3124:"This day, May 15, in Jewish history" 2822: 2804:from the original on 13 December 2014 2650:from the original on 20 November 2015 2469: 2323: 2311: 2299: 2287: 2240:"A History of a Night at the Theatre" 2215: 2194: 2030:John Byng, later Viscount Torrington. 7: 5837:Christopher Wren buildings in London 5652: 4610:The Gay Couple in Restoration Comedy 4114:Logan Culwell-Block (24 June 2024). 4066:from the original on 24 October 2021 4036:from the original on 24 October 2021 3182:Iron Curtain: From Stage to Cold War 3048:Grimaldi (Boz edition), pp. 117–119. 2629:"Hart, Charles (bap. 1625, d. 1683)" 2355: 2106:"Theatre Royal, Drury Lane: History" 434:, whose company became known as the 426:in 1660. Soon after, Charles issued 5852:Theatres in the City of Westminster 4642:David Garrick: A Critical Biography 4589:A Source Book in Theatrical History 4402:The Oxford Companion to the Theatre 4380:Greenfield, Anne Leah, ed. (2015). 4344:Guide to British Theatres 1750–1950 4013:from the original on 18 March 2019. 3953:Porteous, Jacob (13 October 2015). 3931:from the original on 11 August 2015 3897:from the original on 11 August 2015 3789:Diaries 1969–1979: The Python Years 3604:Hogejan, Warren (10 January 2000). 3179:Wright, Patrick (28 October 2009). 2998:from the original on 19 August 2014 2922:from the original on 2 January 2015 2767:A Comparison Between the Two Stages 2531:49.1 (1995), 52–3; Robert D. Hume ( 1993:European Route of Historic Theatres 1816:The Best Little Whorehouse in Texas 1524:350th anniversary renovation (2013) 1416:, including the spectacular drama, 1208:at the theatre, as depicted in the 536:. He has this to say in his diary: 4453:(1990 ed.). Clarendon Press. 4346:. Theatres Trust. pp. 107–8. 4342:Earl, John; Sell, Michael (2000). 4236:University Press of Kentucky 2000 3751:from the original on 13 March 2014 3393:from the original on 15 April 2012 2058:from the original on 15 April 2012 1872:The Lord of the Rings: The Musical 1601:recorded an album at the theatre, 1005:. A third theatre was designed by 25: 4145:. Alpha Books. pp. 232–233. 3961:from the original on 4 March 2016 3919:Paddock, Terri (31 August 2012). 3820:from the original on 17 July 2011 3514:'The Theatre Royal: Management', 3306:Bradby, James & Sharratt 1981 3294:Bradby, James & Sharratt 1981 3130:from the original on 19 May 2014. 3099:Bradby, James & Sharratt 1981 2499:Restoration Comedy in Performance 1896:Charlie and the Chocolate Factory 1070:An assassination attempt against 422:to the throne with the return of 325:as the theatre's resident Clown. 47:Charlie and the Chocolate Factory 5651: 5640: 5639: 4527:McConnell Stott, Andrew (2009). 4510:Architecture, Actor and Audience 3859:from the original on 20 May 2010 3464:"Mr. Pitcher's Art" – Obituary, 3320:The Cambridge Companion to Byron 3262:from the original on 20 May 2014 2918:. St George-in-the-East Church. 2501:1986, 20; and Richard Leacroft, 2253:website, retrieved 14 March 2015 1450:billboard at the theatre in 2009 119: 4608:Smith, John Harrington (1948). 4399:Hartnoll, Phyllis, ed. (1983). 4088:Bamigboye, Baz (30 July 2024). 3881:Paddock, Terri (23 June 2010). 3280:Details in this paragraph from 2626:Kathman, David (January 2008). 2185:, Eyre Methuen Ltd 1973, p. 83. 1306:(1842), and of Lord Tresham in 1256:; a series of twelve operas by 842:in an early 1741 production of 587:showing a design attributed to 5822:1663 establishments in England 4731:New International Encyclopedia 4667:The Cambridge Guide to Theatre 4531:. Edinburgh: Canongate Books. 4318:. Cambridge University Press. 2507:Bowling Green State University 2181:, crediting Richard Leacroft, 1979:said he had seen the ghost of 1321:Pantomime characters from the 1225:, followed from 1826 to 1830. 1: 4472:. Indiana: Focus Publishing. 4291:Nell Gwyn: Mistress to a King 3389:. Victorian Web. 9 May 2007. 3387:"Profile of the theatre from" 3060:, p. 310 specifies 3611. 2054:. Victorian Web. 9 May 2007. 1118:Modern theatre (1812–present) 930:. Sheridan and his partners, 5509:Theatre Royal Stratford East 4692:. Amberley. pp. 55–61. 4493:. Cornell University Press. 4470:Tragedy of Hamlet of Denmark 3731:"London Musicals 1945–1949: 3518:(1970), pp. 9–29. URL: 3318:Bone, Drummond, ed. (2004). 3012:UK public library membership 2974:"Linley, Thomas (1733–1795)" 2664:UK public library membership 501:, dominated in the 1660s by 321:, the last of whom employed 171:; 361 years ago 4848:Delfont Mackintosh Theatres 4665:. In Banham, Martin (ed.). 4663:"Drury Lane, Theatre Royal" 4468:Kliman, Bernice W. (2008). 4424:Hischak, Thomas S. (2007). 4287:Beauclerk, Charles (2005). 3440:"Jullien biographical site" 2346:in Greenfield (2015), p. 69 2134:Elizabeth McClure Thomson, 796:The Loves of Mars and Venus 5923: 5887:Theatres completed in 1812 5882:Theatres completed in 1794 5877:Theatres completed in 1674 5872:Theatres completed in 1663 5765:The Glorious First of June 5224:ChickenShed's Amphitheatre 4725:"Drury Lane Theatre" 4487:Leacroft, Richard (1973). 4295:. Atlantic Monthly Press. 4139:All haunting details from 3185:. OUP Oxford. p. 65. 2798:"Theatre Royal Drury Lane" 2251:Victoria and Albert Museum 1455:Interior renovation (1922) 1434:on an on-stage treadmill. 622:All Souls' College, Oxford 5791:Theatre Royal, Drury Lane 5702:Richard Brinsley Sheridan 5635: 5534:Upstairs at The Gatehouse 4585:Nagler, Alois M. (1959). 4553:Theatre Royal, Drury Lane 4508:Mackintosh, Iain (1993). 3715:, retrieved 14 March 2015 3652:"Great West End Theatres" 3570:27 September 2007 at the 3485:10 September 2015 at the 3126:. Cleveland Jewish News. 2497:(1979), 30; J. L. Styan, 1467:. Composer and performer 1286:. In 1837, actor-manager 1051:– as proof against fire. 928:Richard Brinsley Sheridan 406:A playhouse known as the 319:Richard Brinsley Sheridan 245:Theatre Royal, Drury Lane 228:/theatre-royal-drury-lane 217: 54: 37: 33:Theatre Royal, Drury Lane 5176:Menier Chocolate Factory 4944:Nederlander Organization 4562:Milhous, Judith (1979). 4445:Hume, Robert D. (1976). 4365:(in French). Atlantica. 4251:23 February 2018 at the 4184:23 February 2018 at the 3594:, accessed 10 July 2015. 3480:"19th century spectacle" 3141:Fraser, Antonia (2000). 2972:Aspden, Suzanne (2004). 2946:28 February 2008 at the 2825:, pp. 62, 74, 79–85 2765:Gildon, Charles (1702). 2596:25 November 2015 at the 2560:23 November 2015 at the 2380:Pepys diary for May 1663 1312:A Blot in the 'Scutcheon 1292:William Charles Macready 1022:Charles Heathcote Tatham 5847:Grade I listed theatres 5469:Rosemary Branch Theatre 4661:Thomson, Peter (1995). 4617:Spiers, Rupert (2002). 4557:. W. H. Allen & Co. 4167:Theatre's Stranges Acts 3657:16 October 2013 at the 2755:, pp. 37–40, 56–57 2616:43 (1989), pp. 104–119. 2138:(London, 1966), p. 140. 2136:The Chamberlain Letters 2110:The Really Useful Group 1840:The Witches of Eastwick 1543:Rodgers and Hammerstein 1513:Great West End Theatres 1398:Carl Rosa Opera Company 1280:William Vincent Wallace 1211:Illustrated London News 1093:, and in the circle of 932:Thomas Linley the elder 715:for the next 16 years. 533:The Humorous Lieutenant 257:Grade I listed building 5741:The School for Scandal 3633:7 October 2014 at the 3372:Gordon-Powell, Robin. 2992:10.1093/ref:odnb/16737 2800:. britishtheatre.com. 2728:Stone & Kahrl 1979 2692:Stone & Kahrl 1979 2680:Stone & Kahrl 1979 2644:10.1093/ref:odnb/12473 2495:The Ornament of Action 2429:Thomas, David (1989). 2389:. From www.pepys.info. 2385:4 January 2014 at the 1928:Much Ado About Nothing 1597:(1970–1972). In 1974, 1451: 1341: 1242:Lyceum Theatre, London 1214: 1162:Cataract of the Ganges 1127: 1063: 1031: 994: 944:The School for Scandal 923: 856: 845:The Merchant of Venice 754: 734: 668: 643:Theatre Royal, Bristol 616: 583:Unsigned longitudinal 564:Great Plague of London 550: 543: 403: 402:as he appeared in 1650 5733:A Trip to Scarborough 5567:Bolton's Theatre Club 5244:Battersea Arts Centre 4619:"Restoration Theatre" 4547:MacQueen-Pope, Walter 4361:Faul, Michel (2006). 4333:Dobbs, Brian (1972). 4212:, J. Harding. p. 441 3707:22 March 2014 at the 3663:British Theatre Guide 3576:West Norwood Cemetery 2864:29 March 2006 at the 2566:New Theatre Quarterly 2533:Penn State University 2525:University of Glasgow 2455:Pepys' 19 March 1666 2245:10 March 2015 at the 1907:(revival) (2017–2019) 1883:(revival) (2009–2011) 1859:(revival) (2003–2004) 1851:(revival) (2001–2003) 1637:The Lord of the Rings 1444: 1383:Louis-Antoine Jullien 1320: 1197: 1125: 1057: 991: 921: 902:Garrick commissioned 873:Licensing Act of 1737 854: 739: 632:Penn State University 582: 548: 398: 271:. The building faces 5796:Elizabeth Ann Linley 4060:www.whatsonstage.com 3551:1 March 2014 at the 3498:Peter Gammond, ed., 3361:Earl & Sell 2000 3037:McConnell Stott 2009 3025:McConnell Stott 2009 2890:King, David (2001). 2704:The Survey of London 2490:The Survey of London 2484:Architectural Record 2302:, pp. 52–54, 58 2179:scale reconstruction 2116:on 17 September 2014 1983:in a dressing room. 1962:The ghosts of actor 1432:2,000 Guineas Stakes 984:Third theatre (1794) 749:in this painting by 569:Great Fire of London 491:Lincoln's Inn Fields 475:Elizabethan theatres 455:Lincoln's Inn Fields 451:Lisle's Tennis Court 247:, commonly known as 180:(original structure) 100:51.51306°N 0.12028°W 5587:Greenwich Playhouse 5484:Southwark Playhouse 5439:Queen's, Hornchurch 5434:Pleasance Islington 5108:Shakespeare's Globe 4625:on 1 September 2008 4219:5 July 2014 at the 4141:Ogden, Tom (1999). 3777:, pp. 150, 263 3742:Over the Footlights 3713:SpecFinish Magazine 3348:5 July 2014 at the 3253:Over The Footlights 2553:Howell-Meri, Mark. 2342:2 June 2016 at the 1957:W. J. MacQueen-Pope 1504:Andrew Lloyd Webber 1354:The Queen of Spades 1304:The Prisoner of War 1221:of New York City's 1173:Samuel James Arnold 1132:Benjamin Dean Wyatt 416:Puritan Interregnum 371:Andrew Lloyd Webber 299:English Restoration 203:Benjamin Dean Wyatt 96: / 34: 5171:Marylebone Theatre 4769:Theatres in London 4169:Robson Books 2006 3729:Ellacott, Vivyan. 3684:1 May 2014 at the 3677:Everett, Lucinda. 3665:, 19 February 2012 3610:The New York Times 3446:on 11 January 2010 3296:, pp. 103–104 3165:H. van Thal (ed), 3039:, pp. 117–118 2444:MacQueen-Pope 1945 2052:"Information from" 1784:Gone with the Wind 1604:Live at Drury Lane 1499:in February 1958. 1452: 1342: 1263:The Maid of Artois 1215: 1128: 1064: 1060:Westminster Bridge 1044:John Philip Kemble 995: 953:John Philip Kemble 924: 857: 755: 617: 551: 499:Restoration comedy 404: 285:"legitimate" drama 105:51.51306; -0.12028 18:Drury Lane theatre 5817:West End theatres 5804: 5803: 5667: 5666: 5459:Riverside Studios 5166:Lyric Hammersmith 5098:Royal Opera House 5054: 5053: 4785:ATG Entertainment 4699:978-1-4456-2859-2 4680:978-0-521-43437-9 4653:978-0-8093-0931-3 4600:978-0-486-20515-1 4593:. Courier Dover. 4577:978-0-8093-0906-1 4538:978-1-84767-761-7 4519:978-0-415-03183-7 4500:978-0-8014-0750-5 4479:978-1-58510-513-7 4460:978-0-19-811799-5 4437:978-0-313-34140-3 4416:978-0-19-211546-1 4391:978-1-317-31884-2 4372:978-2-35165-038-7 4353:978-0-7136-5688-6 4325:978-0-521-28524-7 4302:978-0-87113-926-9 4279:978-0-521-46466-6 4242:978-0-8131-0982-4 4175:978-1-86105-674-0 4165:Morley, Sheridan 4152:978-0-02-863659-7 4062:. 10 March 2021. 3983:. 22 January 2024 3855:. 14 March 2008. 3847:musical to close" 3845:Lord of the Rings 3814:Thisistheatre.com 3626:Dennys, Harriet. 3329:978-0-521-78676-8 3220:Morning Chronicle 3192:978-0-19-162284-7 3152:978-0-520-22460-5 3010:(Subscription or 2901:978-0-7506-4468-6 2662:(Subscription or 2493:; Peter Holland, 2335:Byrd, Ann Marie. 1888:Shrek The Musical 1658:(2013–2017), and 1649:Shrek The Musical 1508:London's West End 1495:The building was 1346:Theatres Act 1843 1269:The Bohemian Girl 1097:(stage-manager), 1095:Richard Wroughton 1085:The comedy actor 940:comedy of manners 816:Charles Fleetwood 798:choreographed by 503:William Wycherley 375:COVID-19 pandemic 241: 240: 16:(Redirected from 5914: 5897:West End theatre 5694: 5687: 5680: 5671: 5655: 5654: 5643: 5642: 5617:Stratford Circus 5389:Leicester Square 5369:Intimate Theatre 5354:Hen and Chickens 5219:Alexandra Palace 5181:The Other Palace 5151:Donmar Warehouse 4934:London Palladium 4781: 4763: 4756: 4749: 4740: 4735: 4727: 4719: 4718: 4716:Official website 4703: 4684: 4657: 4645: 4634: 4632: 4630: 4621:. 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Routledge UK. 4504: 4483: 4464: 4452: 4441: 4420: 4395: 4376: 4357: 4338: 4329: 4317: 4306: 4294: 4283: 4270:Sheridan Studies 4255: 4232:Donati, William 4230: 4224: 4206: 4200: 4199:, pp. 55–56 4194: 4188: 4163: 4157: 4156: 4137: 4131: 4130: 4128: 4126: 4111: 4105: 4104: 4102: 4100: 4085: 4076: 4075: 4073: 4071: 4052: 4046: 4045: 4043: 4041: 4030:Whatsonstage.com 4021: 4015: 4014: 3999: 3993: 3992: 3990: 3988: 3977: 3971: 3970: 3968: 3966: 3950: 3941: 3940: 3938: 3936: 3916: 3907: 3906: 3904: 3902: 3891:Whatsonstage.com 3878: 3869: 3868: 3866: 3864: 3839: 3830: 3829: 3827: 3825: 3802: 3793: 3792: 3787:Palin, Michael. 3784: 3778: 3772: 3761: 3760: 3758: 3756: 3750: 3739: 3725: 3716: 3699: 3693: 3675: 3666: 3650:Fisher, Philip. 3648: 3642: 3624: 3618: 3617: 3601: 3595: 3592:Historic England 3585: 3579: 3562: 3556: 3543: 3537: 3536: 3534: 3532: 3512: 3503: 3496: 3490: 3477: 3471: 3462: 3456: 3455: 3453: 3451: 3436: 3430: 3429: 3421: 3415: 3409: 3403: 3402: 3400: 3398: 3383: 3377: 3370: 3364: 3358: 3352: 3340: 3334: 3333: 3315: 3309: 3303: 3297: 3291: 3285: 3278: 3272: 3271: 3269: 3267: 3261: 3250: 3242: 3236: 3230: 3224: 3216: 3210: 3203: 3197: 3196: 3176: 3170: 3163: 3157: 3156: 3138: 3132: 3131: 3120: 3114: 3108: 3102: 3096: 3090: 3084: 3078: 3072: 3061: 3055: 3049: 3046: 3040: 3034: 3028: 3027:, pp. 45–46 3022: 3016: 3015: 3007: 3005: 3003: 2969: 2963: 2957: 2951: 2938: 2932: 2931: 2929: 2927: 2912: 2906: 2905: 2887: 2881: 2875: 2869: 2856: 2850: 2845: 2826: 2820: 2814: 2813: 2811: 2809: 2794: 2788: 2782: 2776: 2770: 2762: 2756: 2750: 2744: 2737: 2731: 2730:, pp. 80–81 2725: 2719: 2713: 2707: 2701: 2695: 2689: 2683: 2677: 2668: 2667: 2659: 2657: 2655: 2631: 2623: 2617: 2614:Theatre Notebook 2588: 2582: 2575: 2569: 2551: 2540: 2537:Theatre Notebook 2529:Theatre Notebook 2521:Theatre Notebook 2517: 2511: 2479: 2473: 2467: 2461: 2453: 2447: 2441: 2435: 2434: 2421: 2415: 2408: 2402: 2396: 2390: 2377: 2371: 2365: 2359: 2358:, pp. 19–21 2353: 2347: 2333: 2327: 2321: 2315: 2314:, pp. 38–42 2309: 2303: 2297: 2291: 2285: 2279: 2272: 2266: 2265:, pp. 15–26 2260: 2254: 2237: 2231: 2225: 2219: 2213: 2207: 2204: 2198: 2197:, pp. 26–28 2192: 2186: 2177:. 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Chatterton 1112:Samuel Whitbread 906:and his brother 885:Hannah Pritchard 725:Anne Bracegirdle 713:Christopher Rich 705:William Davenant 697:Thomas Betterton 589:Christopher Wren 524:Francis Beaumont 514:and provocative 483:William Davenant 432:Thomas Killigrew 412:Queen Anne's Men 400:Thomas Killigrew 343:Second World War 295:Thomas Killigrew 273:Catherine Street 253:West End theatre 237: 232: 229: 227: 225: 223: 221: 179: 177: 172: 156:1,996 (4 levels) 123: 111: 110: 108: 107: 106: 101: 97: 94: 93: 92: 89: 62:Catherine Street 42: 35: 21: 5922: 5921: 5917: 5916: 5915: 5913: 5912: 5911: 5807: 5806: 5805: 5800: 5779: 5704: 5698: 5668: 5663: 5631: 5548: 5324:Erith Playhouse 5211: 5205: 5112: 5073:London Coliseum 5068:Barbican Centre 5060: 5050: 5009: 4961: 4938: 4895: 4886:Victoria Palace 4876:Prince of Wales 4842: 4798:Apollo Victoria 4770: 4767: 4722: 4714: 4713: 4710: 4700: 4687: 4681: 4660: 4654: 4637: 4628: 4626: 4616: 4607: 4601: 4584: 4578: 4561: 4545: 4539: 4526: 4520: 4507: 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782:Alexander Pope 778:Thomas Doggett 709:Canary Islands 692:Exclusion Bill 576: 573: 516:breeches roles 489:and operas at 443:Duke's Company 436:King's Company 428:Letters Patent 392: 389: 239: 238: 215: 214: 210: 209: 207: 206: 199: 192: 188: 186: 182: 181: 167: 163: 162: 158: 157: 154: 148: 147: 145:Grade I listed 142: 138: 137: 132: 128: 127: 117: 116:Public transit 113: 112: 80: 74: 73: 60: 56: 55: 52: 51: 43: 26: 24: 14: 13: 10: 9: 6: 4: 3: 2: 5919: 5908: 5905: 5903: 5900: 5898: 5895: 5893: 5890: 5888: 5885: 5883: 5880: 5878: 5875: 5873: 5870: 5868: 5865: 5863: 5862:Covent Garden 5860: 5858: 5855: 5853: 5850: 5848: 5845: 5843: 5840: 5838: 5835: 5833: 5830: 5828: 5825: 5823: 5820: 5818: 5815: 5814: 5812: 5797: 5794: 5792: 5789: 5788: 5786: 5782: 5775: 5774: 5770: 5767: 5766: 5762: 5759: 5758: 5754: 5751: 5750: 5746: 5743: 5742: 5738: 5735: 5734: 5730: 5727: 5726: 5722: 5719: 5718: 5714: 5713: 5711: 5707: 5703: 5695: 5690: 5688: 5683: 5681: 5676: 5675: 5672: 5660: 5659: 5650: 5648: 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Routledge. 4383: 4378: 4374: 4368: 4364: 4359: 4355: 4349: 4345: 4340: 4336: 4331: 4327: 4321: 4316: 4315: 4308: 4304: 4298: 4293: 4292: 4285: 4281: 4275: 4271: 4266: 4265: 4261: 4254: 4250: 4247: 4243: 4239: 4235: 4229: 4226: 4222: 4218: 4215: 4211: 4205: 4202: 4198: 4193: 4190: 4187: 4183: 4180: 4176: 4172: 4168: 4162: 4159: 4154: 4148: 4144: 4136: 4133: 4121: 4117: 4110: 4107: 4095: 4091: 4084: 4082: 4078: 4065: 4061: 4057: 4051: 4048: 4035: 4031: 4027: 4020: 4017: 4012: 4008: 4004: 3998: 3995: 3982: 3976: 3973: 3960: 3956: 3949: 3947: 3943: 3930: 3926: 3924: 3915: 3913: 3909: 3896: 3892: 3888: 3886: 3877: 3875: 3871: 3858: 3854: 3853: 3848: 3846: 3838: 3836: 3832: 3819: 3815: 3811: 3809: 3808:The Producers 3801: 3799: 3795: 3790: 3783: 3780: 3776: 3771: 3769: 3767: 3763: 3747: 3743: 3736: 3734: 3724: 3722: 3718: 3714: 3710: 3706: 3703: 3698: 3695: 3691: 3690:The Telegraph 3687: 3683: 3680: 3674: 3672: 3668: 3664: 3660: 3656: 3653: 3647: 3644: 3640: 3639:The Telegraph 3636: 3632: 3629: 3623: 3620: 3615: 3611: 3607: 3600: 3597: 3593: 3589: 3584: 3581: 3577: 3574:, Friends of 3573: 3569: 3566: 3561: 3558: 3554: 3550: 3547: 3542: 3539: 3526: 3522: 3517: 3511: 3509: 3505: 3501: 3495: 3492: 3488: 3484: 3481: 3476: 3473: 3469: 3468: 3461: 3458: 3445: 3441: 3435: 3432: 3427: 3420: 3417: 3414:, p. 310 3413: 3408: 3405: 3392: 3388: 3382: 3379: 3375: 3369: 3366: 3363:, p. 268 3362: 3357: 3354: 3351: 3347: 3344: 3339: 3336: 3331: 3325: 3321: 3314: 3311: 3308:, p. 103 3307: 3302: 3299: 3295: 3290: 3287: 3284:, p. 310 3283: 3277: 3274: 3258: 3254: 3247: 3241: 3238: 3234: 3229: 3226: 3222: 3221: 3215: 3212: 3208: 3202: 3199: 3194: 3188: 3184: 3183: 3175: 3172: 3168: 3162: 3159: 3154: 3148: 3144: 3137: 3134: 3129: 3125: 3119: 3116: 3112: 3107: 3104: 3100: 3095: 3092: 3088: 3083: 3080: 3076: 3071: 3069: 3067: 3063: 3059: 3054: 3051: 3045: 3042: 3038: 3033: 3030: 3026: 3021: 3018: 3013: 2997: 2993: 2989: 2985: 2984: 2979: 2975: 2968: 2965: 2961: 2956: 2953: 2949: 2945: 2942: 2937: 2934: 2921: 2917: 2911: 2908: 2903: 2897: 2893: 2886: 2883: 2879: 2874: 2871: 2867: 2863: 2860: 2855: 2852: 2849: 2848:Hartnoll 1983 2844: 2842: 2840: 2838: 2836: 2834: 2832: 2828: 2824: 2819: 2816: 2803: 2799: 2793: 2790: 2786: 2781: 2778: 2774: 2768: 2761: 2758: 2754: 2749: 2746: 2742: 2736: 2733: 2729: 2724: 2721: 2718:, p. 208 2717: 2712: 2709: 2705: 2700: 2697: 2693: 2688: 2685: 2681: 2676: 2674: 2670: 2665: 2649: 2645: 2641: 2637: 2636: 2630: 2622: 2619: 2615: 2611: 2607: 2603: 2599: 2595: 2592: 2587: 2584: 2580: 2574: 2571: 2567: 2563: 2559: 2556: 2550: 2548: 2546: 2542: 2538: 2534: 2530: 2526: 2522: 2516: 2513: 2508: 2504: 2500: 2496: 2492: 2491: 2486: 2485: 2478: 2475: 2471: 2466: 2463: 2458: 2452: 2449: 2445: 2440: 2437: 2432: 2426: 2420: 2417: 2413: 2407: 2404: 2400: 2395: 2392: 2388: 2384: 2381: 2376: 2373: 2369: 2364: 2361: 2357: 2352: 2349: 2345: 2341: 2338: 2332: 2329: 2325: 2320: 2317: 2313: 2308: 2305: 2301: 2296: 2293: 2289: 2284: 2281: 2277: 2271: 2268: 2264: 2259: 2256: 2252: 2248: 2244: 2241: 2236: 2233: 2229: 2224: 2221: 2217: 2212: 2209: 2203: 2200: 2196: 2191: 2188: 2184: 2180: 2176: 2175:Hartnoll 1983 2171: 2168: 2164: 2159: 2157: 2153: 2149: 2144: 2141: 2137: 2131: 2128: 2115: 2111: 2107: 2100: 2098: 2096: 2094: 2092: 2090: 2088: 2086: 2082: 2079:, p. 309 2078: 2073: 2070: 2057: 2053: 2047: 2044: 2037: 2027: 2024: 2018: 2015: 2008: 2003: 1999: 1996: 1994: 1991: 1990: 1986: 1984: 1982: 1978: 1973: 1972:Thomas Hallam 1969: 1965: 1960: 1958: 1953: 1944: 1938: 1937: 1933: 1930: 1929: 1925: 1922: 1921: 1917: 1914: 1913: 1909: 1906: 1905: 1901: 1898: 1897: 1893: 1890: 1889: 1885: 1882: 1881: 1877: 1874: 1873: 1869: 1866: 1865: 1864:The Producers 1861: 1858: 1857: 1856:Anything Goes 1853: 1850: 1849: 1845: 1842: 1841: 1837: 1834: 1833: 1829: 1826: 1825: 1821: 1818: 1817: 1813: 1810: 1809: 1805: 1802: 1801: 1800:A Chorus Line 1797: 1794: 1793: 1789: 1786: 1785: 1781: 1778: 1777: 1773: 1770: 1769: 1765: 1762: 1761: 1757: 1754: 1753: 1749: 1746: 1745: 1741: 1738: 1737: 1733: 1730: 1729: 1728:South Pacific 1725: 1722: 1721: 1717: 1714: 1713: 1709: 1706: 1705: 1704:Three Sisters 1701: 1698: 1697: 1693: 1690: 1689: 1685: 1682: 1681: 1677: 1674: 1671: 1670: 1668: 1665: 1664:(2021–2024). 1663: 1662: 1657: 1656: 1652:(2011–2013), 1651: 1650: 1646:(2009–2011), 1645: 1644: 1640:(2007–2008), 1639: 1638: 1634:(2004–2007), 1633: 1632: 1631:The Producers 1627: 1626: 1622:(1984–1989), 1621: 1620: 1616:(1976–1979), 1615: 1614: 1613:A Chorus Line 1608: 1606: 1605: 1600: 1596: 1595: 1590: 1589: 1588:Hello, Dolly! 1585:(1964–1965), 1584: 1583: 1578: 1577: 1572: 1568: 1567: 1562: 1561: 1560:South Pacific 1557:(1950–1951), 1556: 1555: 1551:(1947–1950), 1550: 1549: 1544: 1536: 1534: 1532: 1531:Regency style 1523: 1521: 1519: 1518:Donald Sinden 1515: 1514: 1509: 1505: 1500: 1498: 1493: 1491: 1490: 1485: 1481: 1477: 1472: 1470: 1466: 1462: 1454: 1449: 1448: 1443: 1439: 1437: 1433: 1429: 1428: 1423: 1419: 1415: 1411: 1407: 1403: 1399: 1395: 1390: 1388: 1384: 1379: 1377: 1373: 1369: 1368: 1363: 1359: 1355: 1351: 1347: 1340: 1336: 1332: 1328: 1324: 1319: 1315: 1313: 1309: 1305: 1301: 1297: 1293: 1289: 1288:Samuel Phelps 1285: 1281: 1277: 1276: 1271: 1270: 1265: 1264: 1259: 1258:Michael Balfe 1255: 1251: 1247: 1246:Fair Rosamond 1243: 1239: 1235: 1231: 1226: 1224: 1220: 1219:Stephen Price 1213: 1212: 1207: 1206: 1201: 1196: 1192: 1190: 1189:Charles Bucke 1186: 1182: 1178: 1174: 1169: 1167: 1163: 1158: 1156: 1152: 1148: 1143: 1139: 1138: 1133: 1124: 1117: 1115: 1113: 1108: 1104: 1103:Michael Kelly 1100: 1096: 1092: 1088: 1083: 1081: 1077: 1073: 1068: 1061: 1056: 1052: 1050: 1045: 1041: 1040:Sarah Siddons 1035: 1030: 1025: 1023: 1019: 1016: 1012: 1008: 1007:Henry Holland 1004: 1000: 990: 983: 981: 979: 978: 973: 972:Harlequinades 969: 965: 961: 956: 954: 950: 946: 945: 941: 937: 933: 929: 920: 916: 913: 909: 905: 900: 898: 897:Richard Yates 894: 890: 886: 882: 878: 874: 870: 869:Shakespearean 866: 862: 861:David Garrick 853: 849: 847: 846: 841: 837: 833: 829: 826:(a native of 825: 821: 817: 813: 808: 803: 801: 797: 793: 789: 788: 783: 779: 775: 771: 770:Colley Cibber 767: 766: 761: 760:John Vanbrugh 752: 748: 747: 742: 741:David Garrick 738: 733: 728: 726: 723:and comedian 722: 716: 714: 710: 706: 702: 701:Dorset Garden 698: 693: 689: 684: 681: 677: 673: 667: 662: 658: 654: 652: 651:David Garrick 648: 644: 639: 637: 633: 629: 628: 623: 614: 611:: Galleries. 610: 606: 602: 598: 594: 590: 586: 581: 574: 572: 570: 565: 560: 557: 547: 542: 537: 535: 534: 529: 528:John Fletcher 525: 521: 517: 512: 508: 504: 500: 496: 495:Michael Mohun 492: 488: 484: 478: 476: 473:found in the 472: 471:thrust stages 468: 464: 460: 456: 452: 448: 444: 439: 437: 433: 429: 425: 421: 417: 413: 409: 401: 397: 390: 388: 386: 382: 381: 376: 372: 368: 367: 362: 361: 356: 355: 350: 349: 344: 340: 336: 332: 326: 324: 320: 316: 315:David Garrick 312: 311:Colley Cibber 308: 304: 300: 296: 291: 289: 286: 282: 278: 274: 270: 266: 262: 261:Covent Garden 258: 254: 250: 246: 236: 231: 216: 211: 204: 200: 197: 196:Henry Holland 193: 190: 189: 187: 183: 168: 164: 159: 155: 153: 149: 146: 143: 139: 136: 133: 129: 126: 125:Covent Garden 122: 118: 114: 109: 81: 79: 75: 70: 66: 61: 57: 53: 49: 48: 41: 36: 30: 19: 5790: 5771: 5763: 5755: 5747: 5739: 5731: 5723: 5715: 5657: 5644: 5607:New Players' 5479:South London 5449:RADA Studios 5444:The Questors 5409:Old Red Lion 5394:Little Angel 5269:The Broadway 5239:Barons Court 5118:Off West End 4918: 4729: 4689: 4666: 4641: 4627:. 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In 1833, 1200:Shakespeare 1181:Edmund Kean 904:Robert Adam 889:Kitty Clive 800:John Weaver 790:. In 1713, 765:The Relapse 746:Richard III 688:Popish Plot 680:raked floor 647:Robert Adam 636:supposition 507:John Dryden 485:'s baroque 377:. Disney's 366:Miss Saigon 360:42nd Street 341:. From the 333:, comedian 331:Edmund Kean 141:Designation 135:LW Theatres 103: / 78:Coordinates 5811:Categories 5757:The Critic 5725:The Duenna 5717:The Rivals 5539:White Bear 5504:Theatre503 5334:Finborough 5289:Canal Café 5254:Bloomsbury 5210:Fringe and 5005:Vaudeville 5000:@sohoplace 4919:Drury Lane 4828:Piccadilly 4337:. Cassell. 4234:Ida Lupino 4070:24 October 4040:24 October 4009:. London. 3965:17 October 3428:. Aguilar. 3014:required.) 2823:Dobbs 1972 2808:9 December 2771:quoted by 2666:required.) 2470:Dobbs 1972 2324:Dobbs 1972 2312:Dobbs 1972 2300:Dobbs 1972 2288:Dobbs 1972 2216:Dobbs 1972 2195:Dobbs 1972 2004:References 1966:and clown 1680:Rose Marie 1673:Cinderella 1414:C. Wilhelm 1260:including 1177:Lord Byron 1140:featuring 1107:Tom Dibdin 1018:Print Room 968:Pantomimes 865:James Lacy 487:spectacles 424:Charles II 277:Drury Lane 249:Drury Lane 220:lwtheatres 91:00°07′13″W 88:51°30′47″N 5700:Plays by 5622:Warehouse 5489:The Space 5429:The Place 5399:Millfield 5344:Greenwich 5319:Courtyard 5299:Churchill 5284:Brookside 5229:artsdepot 5201:Young Vic 5156:Hampstead 5046:Trafalgar 5031:Haymarket 5026:Criterion 4914:Cambridge 4891:Wyndham's 4833:Playhouse 3733:Oklahoma! 3467:The Times 2926:2 January 2741:Companies 2427:, citing 2356:Hume 1976 2038:Citations 1945:Hauntings 1712:Oklahoma! 1696:Cavalcade 1548:Oklahoma! 1529:original 1402:pantomime 1300:melodrama 1250:Farinelli 1230:colonnade 1205:King John 1166:hydraulic 1155:colonnade 1003:Haymarket 1001:, in the 828:Inishowen 676:shillings 511:Nell Gwyn 383:made its 348:Oklahoma! 303:Nell Gwyn 288:in London 226:/theatres 5749:The Camp 5646:Category 5572:Cochrane 5544:Wilton's 5454:Richmond 5329:Etcetera 5274:Broadway 5259:Bob Hope 5234:Ashcroft 5212:suburban 5088:Open Air 5078:National 5061:theatres 4957:Dominion 4881:Sondheim 4776:West End 4549:(1945). 4249:Archived 4217:Archived 4182:Archived 4120:Playbill 4094:Deadline 4064:Archived 4034:Archived 4011:Archived 3959:Archived 3929:Archived 3895:Archived 3857:Archived 3818:Archived 3746:Archived 3705:Archived 3682:Archived 3655:Archived 3631:Archived 3614:Archived 3568:Archived 3549:Archived 3531:15 March 3525:Archived 3483:Archived 3450:20 March 3397:20 March 3391:Archived 3346:Archived 3257:Archived 3128:Archived 2996:Archived 2944:Archived 2920:Archived 2862:Archived 2802:Archived 2739:Spiers, 2648:Archived 2606:See also 2594:Archived 2558:Archived 2425:Theatres 2423:Spiers, 2412:Theatres 2410:Spiers, 2383:Archived 2340:Archived 2243:Archived 2062:20 March 2056:Archived 1987:See also 1981:Dan Leno 1952:tricorne 1936:Hercules 1720:Carousel 1688:Showboat 1554:Carousel 1541:Four of 1427:The Whip 1406:Dan Leno 1360:(1855), 1356:(1851), 1339:Phil May 1327:Dan Leno 1275:Maritana 807:de facto 690:and the 615:: Boxes. 463:shutters 420:restored 410:used by 385:West End 335:Dan Leno 152:Capacity 5784:Related 5773:Pizarro 5658:Commons 5612:Saville 5602:New End 5597:Mermaid 5582:Empress 5524:Unicorn 5519:Turbine 5314:Coronet 5309:Compass 5304:Cockpit 5294:Chelsea 5126:Almeida 5093:Peacock 4985:Garrick 4980:Duchess 4952:Aldwych 4909:Adelphi 4866:Novello 4856:Gielgud 4823:Phoenix 4808:Fortune 4734:. 1905. 4671:309–311 4629:2 March 4407:230–232 4125:24 June 4099:30 July 3987:24 June 3885:Oliver! 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