99:
112:
392:. These theatres were able to avoid the Lord Chamberlain's censorship by operating as theatre clubs, where membership was obligatory, and took risks by producing new and experimental plays, or plays by unknown or commercially unviable writers. Norman Marshall refers to these as ‘The Other Theatre’ in his 1947 book of the same name.
548:
410:
who made her first professional appearance at the Gate, restored intimate revue to favour in the West End. However following serious bomb damage in 1941, the same air raid that destroyed the
414:, the theatre was finally forced to close. It was never to re-open although, according to Norman Marshall, the manpower and material needed to resuscitate it would have been very small.
276:, who took over and refurbished the Gate Theatre Studio, reviving the theatre's reputation, often financing his productions by running highly successful theatrical revues in parallel.
204:, the Gate struggled to survive without attracting any particular attention. The history of the studio was typical of many small independent theatres of the period, until the
241:. Peter Godfrey entered into a new business partnership with Miss Velona Pilcher. The new Gate Theatre Studio was constructed out of a complex of premises acquired by
183:
and could hold an audience of 96. Then known as "the Gate
Theatre Salon" (The Gate to Better Things), it opened that year on 30 October with Godfrey's production of
222:
and urged readers to apply for membership of the theatre and go and see the production. At the end of a scheduled three-week run, the play was transferred to the
558:
568:
476:
531:
Charlotte Purkis 'Velona
Pilcher's Promotion of an Intercontinental Theatrical Avant-Garde', in: Nitz, Petrulionis and Schoen (Eds.) (2016)
273:
573:
563:
553:
62:
272:
By 1934, Godfrey, a man grown tired of shouldering the administrative burden of a theatre, handed it over to a new company formed by
526:
237:
In March 1927 the Gate
Theatre Salon closed and the company moved to a site at 16A Villiers Street,'underneath the arches' close to
436:. While it draws its name coincidentally from its location, it shares its innovative inspiration with its namesake from the past.
376:
In the 1930s The Gate
Theatre Studio was one of a number of small, committed, independent theatre companies which included the
411:
324:
115:
55:
179:
and his wife Molly Veness, the theatre was originally on the top floor of a ramshackle warehouse at 38 Floral Street,
377:
102:
246:
176:
254:
223:
106:
334:
304:
424:
266:
238:
218:
309:
363:
314:
250:
227:
402:
358:
284:
Productions, several of which transferred to the West End following censorship troubles with the
200:
98:
253:). Reconstruction delayed the first two productions of the third season which were given at the
522:
472:
433:
339:
195:
462:
407:
299:
285:
46:
319:
262:
164:
38:
257:. It was not until 22 November 1927 that the newly named Gate Theatre Studio opened with
429:
329:
184:
125:
542:
453:
Purkis, Charlotte (2021), Pilný, Ondřej; van den Beuken, Ruud; Walsh, Ian R. (eds.),
353:
349:
344:
294:
180:
111:
381:
231:
213:
205:
521:, Rupert Hart-Davis, 1968; revised and re-issued by the New English Library, 1976
191:, starring Veness as Margaret, 'the searcher for truth', and ran for a fortnight.
467:
289:
242:
209:
533:
Intercontinental
Crosscurrents: Women's Networks Across Europe and the Americas
454:
389:
77:
64:
385:
422:
The spirit of the Gate
Theatre Studio was taken up in 1979 by the new
269:
in the lead, again produced by
Godfrey and receiving 53 performances.
42:
455:"The Other Gates: Anglo-American Influences on and from Dublin"
461:, Cham: Springer International Publishing, pp. 107–140,
549:
Former buildings and structures in the City of
Westminster
459:
Cultural
Convergence: The Dublin Gate Theatre, 1928–1960
194:
With a series of challenging productions, including
146:
131:
121:
93:
54:
34:
8:
18:
535:, Winter Verlag Heidelberg, pp. 71–90.
247:Gatti's Underneath the Arches Musical Hall
17:
466:
234:took over the leading role from Godfrey.
445:
163:, is a former independent theatre on
7:
559:Theatres in the City of Westminster
517:Raymond Mander and Joe Mitchenson
159:, often referred to as simply the
14:
569:1941 disestablishments in England
110:
97:
500:, George Harrap, London, 1933.
1:
507:, John Lehmann, London, 1947.
412:Little Theatre in the Adelphi
212:, enthusiastically reviewed
519:The Lost Theatres of London
468:10.1007/978-3-030-57562-5_5
396:Bomb damage in World War II
362:and later took the play to
175:Founded in October 1925 by
590:
574:Theatres completed in 1927
514:, Macdonald, London, 1957.
348:(1940). In 1936 the young
135:22 November 1927
564:Studio theatres in London
554:Former theatres in London
512:The Producer and the Play
352:, played the lead in the
30:
23:
255:Rudolph Steiner Theatre
267:Gwen Ffrangcon-Davies
239:Charing Cross Station
219:From Morn to Midnight
406:, several starring
325:The Children's Hour
157:Gate Theatre Studio
74: /
20:
19:Gate Theatre Studio
378:Hampstead Everyman
280:West End transfers
201:The Dance of Death
78:51.5081°N 0.1238°W
25:Gate Theatre Salon
510:Norman Marshall,
505:The Other Theatre
503:Norman Marshall,
478:978-3-030-57562-5
434:Notting Hill Gate
371:The Other Theatre
340:Reginald Beckwith
196:August Strindberg
154:
153:
581:
496:Philip Godfrey,
489:
488:
487:
485:
470:
450:
408:Hermione Gingold
310:Elsie Schauffler
300:Laurence Housman
286:Lord Chamberlain
251:Players' Theatre
142:
140:
114:
101:
89:
88:
86:
85:
84:
83:51.5081; -0.1238
79:
75:
72:
71:
70:
67:
21:
589:
588:
584:
583:
582:
580:
579:
578:
539:
538:
493:
492:
483:
481:
479:
452:
451:
447:
442:
432:above a pub in
420:
398:
374:
335:Of Mice and Men
320:Lillian Hellman
305:Victoria Regina
282:
274:Norman Marshall
263:Simon Gantillon
245:which included
173:
165:Villiers Street
138:
136:
109:
82:
80:
76:
73:
68:
65:
63:
61:
60:
49:
41:
39:Villiers Street
26:
12:
11:
5:
587:
585:
577:
576:
571:
566:
561:
556:
551:
541:
540:
537:
536:
529:
515:
508:
501:
491:
490:
477:
444:
443:
441:
438:
430:fringe theatre
419:
416:
397:
394:
373:
368:
330:John Steinbeck
281:
278:
224:Regent Theatre
185:Susan Glaspell
172:
169:
152:
151:
148:
144:
143:
133:
129:
128:
126:Studio theatre
123:
119:
118:
95:
94:Public transit
91:
90:
58:
52:
51:
50:United Kingdom
36:
32:
31:
28:
27:
24:
13:
10:
9:
6:
4:
3:
2:
586:
575:
572:
570:
567:
565:
562:
560:
557:
555:
552:
550:
547:
546:
544:
534:
530:
528:
527:0-450-02838-0
524:
520:
516:
513:
509:
506:
502:
499:
495:
494:
480:
474:
469:
464:
460:
456:
449:
446:
439:
437:
435:
431:
427:
426:
417:
415:
413:
409:
405:
404:
395:
393:
391:
387:
383:
379:
372:
369:
367:
365:
361:
360:
355:
351:
350:Robert Morley
347:
346:
345:Boys in Brown
341:
337:
336:
331:
327:
326:
321:
317:
316:
311:
307:
306:
301:
297:
296:
291:
287:
279:
277:
275:
270:
268:
264:
260:
256:
252:
248:
244:
240:
235:
233:
229:
225:
221:
220:
215:
211:
207:
203:
202:
197:
192:
190:
186:
182:
181:Covent Garden
178:
177:Peter Godfrey
170:
168:
166:
162:
158:
149:
145:
134:
130:
127:
124:
120:
117:
116:Charing Cross
113:
108:
104:
103:Charing Cross
100:
96:
92:
87:
59:
57:
53:
48:
44:
40:
37:
33:
29:
22:
16:
532:
518:
511:
504:
497:
482:, retrieved
458:
448:
425:Gate Theatre
423:
421:
401:
399:
382:Arts Theatre
375:
370:
357:
343:
333:
323:
313:
303:
293:
283:
271:
261:, a play by
258:
236:
232:Claude Rains
228:King's Cross
217:
214:Georg Kaiser
206:Sunday Times
199:
193:
188:
174:
161:Gate Theatre
160:
156:
155:
15:
428:, a London
403:Gate Revues
359:Oscar Wilde
338:(1939) and
290:Oscar Wilde
288:, included
243:Carlo Gatti
210:James Agate
167:in London.
81: /
56:Coordinates
543:Categories
498:Back Stage
484:12 October
440:References
390:Kew Bridge
356:brothers'
139:1927-11-22
107:Embankment
66:51°30′29″N
386:Q Theatre
384:Club and
249:(now the
69:0°07′26″W
364:Broadway
328:(1936),
318:(1936),
308:(1935),
298:(1931),
189:Berenice
418:Revival
315:Parnell
265:, with
208:critic
171:History
137: (
35:Address
525:
475:
380:, the
354:Stokes
295:Salome
147:Closed
132:Opened
43:London
230:when
523:ISBN
486:2023
473:ISBN
400:The
259:Maya
150:1941
122:Type
463:doi
388:at
342:'s
332:'s
322:'s
312:'s
302:'s
292:'s
226:in
216:'s
198:'s
187:'s
47:WC2
545::
471:,
457:,
366:.
105:;
45:,
465::
141:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
