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1170:. The success of the play with audiences and critics was immediate and considerable, but it was short-lived. Within weeks of the premiere Wilde was arrested on a charge of committing homosexual acts and was tried, convicted and imprisoned. The public turned against him, and although Alexander tried to keep the production of the play going by removing the author's name from the playbills, he had to withdraw it after 83 performances. Under Alexander, the St James's did not solely concentrate on drawing-room comedy and society drama. There were costume dramas, including the
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fanciful workmanship. … The front of the slips and gallery are distinguished by neat gold ornaments, relieved by handsome medallions. The proscenium, which, like that of Covent-garden, is shell-form, is painted in compartments, where the loves and graces are depicted gaily disporting. Two slender fluted
Corinthian columns, supported on pedestals of imitative marble, add greatly to the beauty of the stage-boxes. A series of arches, supporting the roof, and sustained by caryatides, runs entirely round the upper part of the theatre. ... The
1161:, about a hero who renounces the priesthood to save his family by marrying to produce an heir, but finally reverts to his religious calling. The play had been turned down by one London management, but Alexander took it on and opened it at the St James's on 5 January 1895. It was received politely by those in the more expensive parts of the house and impolitely by those in the cheaper seats. The reviews were unenthusiastic; Alexander kept the play on the bill for a month before turning to Wilde as a more theatrically adept writer.
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826:'s plays staged there by Hare and the Kendals. It was regarded as daringly unconventional and a risky venture, but it caught on with the public, partly for Hare's character, the "disreputable but delightful old reprobate and card-shark" Baron Croodle. Other plays by Pinero given by the Hare-Kendal management at the St James's were
1716:. A motion was carried against the Government in that house, but to no avail. The LCC ordered that no further theatres would be demolished in central London without a planned replacement, but neither the national nor the local government would intervene to prevent the destruction of the St James's. After the run of
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it featured "a woman with a past", but unlike Wilde's play it ended in tragedy. It was thought daring at the time, but
Alexander knew his audiences and kept to what Pearson called his "safe path of correct riskiness". It ran for 227 performances in its first production and was later much revived. The
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The theatre was dark for most of 1841. In 1842 John
Mitchell (1806–1874), a bookseller and founder of the Bond Street Ticket Agency, took over, reverted the name to the original, and ran the St James's for twelve years, with much artistic success but little financial return. He presented French plays
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began a run of 726 performances, the longest in the history of the St James's. During the run it emerged that a property developer had acquired the freehold of the theatre and obtained the requisite legal authority to knock it down and replace it with an office block. Despite widespread protests the
1839:
The theatre had attracted this label as early as 1839 – "this very beautiful but most unlucky theatre" – and it continued throughout most of the 19th century: "an establishment long reputed the most unfortunate in London (1859); "this seemingly ill-fated place of amusement" (1875); "an unlucky one;
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The prevailing colour is a delicate French white. A border of flowers, richly embossed in gold, runs round the dress circle, and has a tasteful and elegant effect. The panels of the boxes in the front of the first circle are ornamented by designs, in the style of
Watteau, placed in gilded frames of
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A historian of the St James's, Barry Duncan, heads his chapter on this phase of the theatre's history, "John Hare and the
Kendals: Nine Years of Steady Success". For the first time, the theatre's reputation as "unlucky" was steadily defied. The new lessees aimed both to amuse and to improve public
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James wrote to his brother, "All the forces of civilization in the house waged a battle of the most gallant, prolonged & sustained applause with the hoots & jeers & catcalls of the roughs, whose roars (like those of a cage of beasts at some infernal 'Zoo') were only exacerbated (as it
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both note that he had already reached a firm and enduring managerial policy. He sought to engage the best actors for his company: unlike some star actor-managers he did not wish to be supported by actors whose inferior talent would make the star look better. Among the actresses he engaged for his
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The theatre did not attract the public in the numbers Braham had expected; in addition to its unexciting programmes it was felt to be too far west to appeal to theatregoers. Braham struggled financially and after three seasons he gave up. John Hooper, previously Braham's stage director, ran the
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of the house is light and brilliant. It looks like a fairy palace. Then, the two great points which are most important to the comfort of an audience – hearing and seeing – have been sedulously consulted; and, with reference to them, we think that the new theatre takes the lead of all its
978:, an English version of a French farce, but poor box-office takings forced him to close the piece within a month. The lease was taken up by a French company who presented a season of plays in the latter months of the year. Poor attendance again forced the premature closure of the run.
91:; it lost money and after three seasons he retired. A succession of managements over the next forty years also failed to make it a commercial success, and the St James's acquired a reputation as an unlucky theatre. It was not until 1879–1888, under the management of the actors
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depicted the heads of
Gilbert Miller, George Alexander, Oscar Wilde and the Oliviers. The office building was demolished and a new one built on the site in the 1980s. The panels were moved from the King Street façade to the Angel Court side of the building.
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there were five short-lived productions at the theatre, and the final performance there was given on 27 July 1957. In
October the interior was stripped; in November the contents of the theatre were auctioned; and in December the demolition team moved in.
485:, from October 1854 to March 1855. Under Seymour's management the interior was remodelled, replacing the first tier of boxes with the now more fashionable dress circle. Among the few notable aspects of her tenure was the London debut of the comic actor
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In a speech at the end of the final night of the Hare-Kendal management, Kendal commented that they had enjoyed more successes and fewer failures than managements of most theatres. But the St James's reputation for ill-luck was not yet finished.
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to the south. A hotel called Nerot's had stood there since the 17th century but was by now abandoned and decaying. To generate income, the façade would incorporate one or two shops. Building and opening the theatre were not straightforward. The
1011:, who had begun a managerial career a year earlier, took a lease of the St James's. He remained in charge there until his death in 1918. He redecorated it and had electric lighting installed. He opened with a double bill of comedies,
858:(1885), was mixed. Hare's Touchstone was considered by some to be the worst ever seen, whereas Madge Kendal's Rosalind had always been one of her best-loved roles. Among the company in these years the actresses included Fanny Brough,
110:, who was in charge from 1891 until his death in 1918. Under Alexander the house gained a reputation for programming that was adventurous without going too far for the tastes of London society. Among the plays he presented were
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called "one of the handsomest temples of the drama in London", while retaining its charm and cosiness. The rebuilding provided increased seating capacity, which enhanced the financial viability of the theatre. The decor was by
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After Mrs Wood's departure, the St James's stood empty for three years. Nobody wanted it. Money had been poured into it and had vanished like water … People now began to call it, not the St James's
Theatre but Braham's Folly.
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Under their management the St James's staged twenty-one plays: seven were new
British pieces, eight French adaptations, and the rest were revivals. Their first production on 4 October 1879 was a revival of G. W. Godfrey's
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She had done nobly and had earned widespread praise. She had kept the theatre open and had brought at least two young people, both destined for greatness, to the notice of the London public – Henry Irving and
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682:. The theatre was well patronised and appeared to be finally prospering. But expenses outran receipts, and Wood gave up the management of the theatre in 1871, and went to the US to replenish her funds.
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agreed that the redeveloped theatre was "now one of the handsomest in London". Alexander's management continued into the new century, continuing to vary the repertory with, in 1902, a verse drama,
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Two key features of
Alexander's management were his continual support of British playwrights; and his care to avoid alienating his key clientele, the fashionable society audience. The writer
1712:(LCC) to demolish the building and replace it with an office block. Leigh and Olivier led a nationwide campaign to try to save the theatre. There were street marches and a protest in the
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commented that the new management was in possession of "a house which, for taste and elegance, and comfort, is far in advance of anything the Metropolis has yet been able to boast."
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363:). In April 1836 the first of many visiting French companies played at the theatre, a tradition that endured intermittently throughout the 122-year existence of the St James's.
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resumed its run until the theatre was hit by a bomb in 1940. It did not reopen until March 1941. A brief season of ballet was followed by a Shakespeare and Ben Jonson season by
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729:. When Litton left for another theatre in 1876, first Horace Wigan, and then Mrs John Wood made brief returns to management at the St James's, the latter with some success in
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by Gilbert, were both complete failures. Barrington lost £4,500, went bankrupt, and surrendered the lease in January 1889. The theatre stayed dark for the rest of the year.
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included Dickens playing Captain Bobadil. Mitchell had a fondness for international entertainments, and presented German conjurors, Tyrolean singers, dramatic readings by
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commented that the St James's Theatre owed its existence "to one of those unaccountable infatuations which stake the earnings of a lifetime upon a hazardous speculation".
1027:, a serious drama. It had already been a success in America and ran at the St James's through most of the remainder of the season, which concluded with a costume drama,
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An office building, St James's House, was built on the site. It incorporated sculptured balcony fronts on each floor above the entrance. Four bas-relief panels by
852:(1883) was a considerable success and was revived by public demand two months after the end of its first run. The reception of a rare excursion into Shakespeare,
733:, which ran to good houses for more than 300 performances. She was succeeded by Samuel Hayes, who produced three failures in quick succession and then withdrew.
255:, and other professional advisers and contractors. He also faced difficulties in obtaining the necessary licence to open a theatre; the management of the nearby
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1297:, an American impresario, who presented his own productions from time to time, but more often sub-let the theatre to other managers. The first was
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prior to taking the play on tour. Wolfit and his company returned at the end of 1942 and played into the following year. Williams's adaptation of
926:, Allan Aynesworth and Lewis Waller their London debuts, but met financial disaster when his first two – and in the event his only – productions,
1540:, which ran for 260 performances, interrupted when a bomb severely damaged the theatre in February 1944: the production moved temporarily to the
1035:. When Alexander took over the St James's he had only eleven years' professional experience in the theatre, but the historians J. P. Wearing and
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called a former "autocrat of Drury Lane and Covent Garden", took over the house, and changed its name to "The Prince's Theatre" in honour of the
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and many other popular French works. In between French offerings, Mitchell occasionally sub-let the theatre. In 1846, an amateur performance of
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693:, with which Gilbert's works had become closely, and profitably, associated. In one of her productions at the St James's, a work by Gilbert,
1879:, where it ran for most of its 414 performances, leaving the St James's, in Mander and Mitchenson's phrase, "to have four flops in a row".
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theatre for four months in 1839. His programmes included the presentation of performing lions, monkeys, dogs and goats. In November 1839
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it became known that a property developer had acquired the freehold of the theatre and had obtained the requisite permission from the
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and the Prince Consort came to two performances during the season, but otherwise Bunn's tenure was undistinguished and unprofitable.
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This was an early, but not the first, example of Gilbert and Sullivan appearing on the bills together: their first collaborations,
351:. This ran for a month before being replaced by one of the few successes of Braham's tenure, another bill containing an operetta –
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After Alexander's death the theatre came under the control of a succession of managements. Among the long-running productions were
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and Lilian Braithwaite, which ran for 83 performances. There followed a succession of society dramas and light comedies including
540:, who had been a member of Braham's original company, briefly took over the house in 1860, and was succeeded, equally briefly, by
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Wearing notes that of the eighty-one productions presented by Alexander at the St James's, only eight were by foreign writers.
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The Hare-Kendal management was succeeded, after brief and disastrous attempts by other lessees, by that of the actor-manager
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1544:, returning in May to complete its run. Of productions of the later 1940s, few made much impression, with the exception of
1212:, carried out by the leading London decorators Messrs. Morant and Co. It reopened on 2 February 1900 with a performance of
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were!) by the conflict. It was a charming scene, as you may imagine, for a nervous, sensitive, exhausted author to face.
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2546:"Kendal, Dame Madge (real name Margaret Shafto Robertson; married name Margaret Shafto Grimston) (1848–1935), actress"
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87:, London. It opened in 1835 and was demolished in 1957. The theatre was conceived by and built for a popular singer,
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489:. The house was once again dark for most of 1856, but in 1857 the theatre returned to royal and public favour when
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took a year's lease from January 1890. She reopened the house on 24 February, playing Rosalind in a production of
544:. Under Frank Matthews, who took over in December 1862, the theatre had its longest-running production thus far:
2324:"Wood (née Vining), Matilda Charlotte (known as Mrs John Wood) (bap. 1831, d. 1915), actress and theatre manager"
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Within a year of taking over the St James's, Alexander began a mutually beneficial professional association with
293:. The frontage was in three bays, three storeys high, with shops in each outer bay. The façade had a four-column
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The final productions, which according to Mander and Mitchenson "came and went in a half-hearted fashion", were
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595:, which ran until Easter the following year. The Herbert management ended in April 1868. The theatre historian
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1618:. Duncan observes, "The company was as brilliant as it was enormous." In addition to the Oliviers it included
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theatres were temporarily closed by government decree. When they were permitted to reopen, a few weeks later,
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commented that Alexander catered to the tastes and foibles of London Society in its theatre-going just as the
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became the lessee for two years from 1858. He presented a season, mainly of Shakespeare, by the popular actor
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The success of the troupe continued for many years, and its popularity caused many rivals to copy their name.
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After Mitchell left, the actress Laura Seymour (1820–1879) ran the theatre for a season in association with
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1250:, an artistic and box-office success, running for 427 performances. In 1909 Alexander successfully revived
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822:(1881) as of particular importance to this period of the theatre's history, being the first of several of
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1435:, a comedy about a man, his two mistresses, and his son by one of them who falls in love with the other.
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958:, adapted from the French by Grundy, which played with a curtain-raiser, a musical farce by Burnand and
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The D'Oyly Carte Opera Company in Gilbert and Sullivan Operas: A Record of Productions, 1875–1961
1799:
793:, they achieved their aim, with a successful mixture of French adaptations and original English plays.
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thought that Scofield's performance as Alexander, though excellent, owed something to the example of
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Between Pinero's play and the work with which Alexander's name has become most closely associated –
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2008:
1696:, began a run of 726 performances, the longest in the history of the St James's. The play starred
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and Ellen Bateman, aged eight and six – in scenes from Shakespeare, and, most popular of all, the
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At the end of 1899 Alexander closed the theatre to have it largely reconstructed, producing what
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Rutland Barrington: A Record of Thirty-Five Years' Experience on the English Stage: By Himself
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Because of the terms of his licence Braham had to advertise the opera as an "opera burletta".
563:, took over in 1864 and ran the theatre until 1868. She attracted much praise for presenting
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In the early 1930s there was a succession of failures or minimal successes until 1933, when
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2856:, vols. 29 and 30, St James Westminster, Part 1 (1960), pp. 295–307, accessed 30 March 2007
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1184:, with Alexander as Orlando, Julia Neilson as Rosalind and a supporting cast that included
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which opened in November 1869 and ran for 197 nights. There were successful productions of
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topped by a tall sheer attic. The interior was decorated by the Frederick Crace Company of
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presented a three-week season at the theatre with their own company. This was followed by
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974:, who had been playing in her company, took on the remainder of the lease, presenting
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who played to good houses for two weeks in August 1857 before moving to other venues.
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The theatre opened on 14 December 1835 with a triple bill consisting of two farces by
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2519:"Hare, Sir John (real name John Joseph Fairs) (1844–1921), actor and theatre manager"
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1456:. In 1936 the centenary of the theatre was marked by a lavishly staged adaptation of
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company from Paris, with a repertoire of nine of his works. This was followed by the
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1411:, was another big success and ran for 412 performances. It was followed by a flop,
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689:, took the theatre. She had made her name in management, founding and running the
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The season after her departure was notable for two Offenbach productions in which
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1844:'s highly successful tenure between 1891 and 1918 the label was still familiar.
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in November 1866 caused a sensation. The following month the theatre presented
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its capacity was so small that even with full houses" (1888); and even into
653:, which ran for 160 performances – a long run for the time. It was beaten by
53:
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1962:
1562:. The reviews were respectful, but the play ran for less than three months.
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to take over, which he did, in 1879, in partnership with two fellow-actors,
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420:. He also engaged a French opera company, which opened in January 1849 with
390:. Among Bunn's early offerings was a season of German opera, beginning with
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Alexander, Sir George (real name George Alexander Gibb Samson) (1858–1918)"
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opposed it, as did other interested parties. The licence was issued by the
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theatre closed in July 1957 and was demolished in December of that year.
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he presented in February 1892. The following year he produced Pinero's,
815:, in which Madge Kendal made a considerable successes as Lady Giovanna.
763:, began to take an active interest in its affairs. He invited the actor
567:
in his first important appearance on a London stage. His performance in
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ran from May until September of the following year, with Edith Evans,
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became lessee of the theatre. He recruited a talented company, giving
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as Desdemona. In 1953 Olivier presented an Italian company headed by
1151:– came Alexander's most conspicuous failure. The celebrated novelist
305:
1254:, which ran for 316 performances. In 1913 he sub-let the theatre to
1246:, as well as the theatre's more usual fare such as Pinero's drama
709:. Another of Litton's productions was a double bill of revivals of
1875:, which opened at the St James's in 1937, soon transferred to the
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took over the management of the theatre. Their successes included
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775:. The theatre was again extensively renovated, with new decor by
234:, a veteran operatic star, planned a theatre in the fashionable
3183:
St James's Theatre, Its Strange and Complete History, 1835–1857
1399:(1925), which ran for 514 performances, until the end of 1926.
1530:
ran for 313 performances for most of 1943. It was followed by
251:
comments that Braham quarrelled regularly with his architect,
1360:
During the 1920s, the St James's staged Christmas seasons of
478:, a form of entertainment that remained popular for decades.
1649:
Later that year, at Olivier's invitation, the French actors
520:
Following this the theatre had a succession of managements.
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The theatre, which cost Braham £28,000, was designed with a
267:, but Braham continued to encounter opposition from rivals.
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Former buildings and structures in the City of Westminster
1592:
took over the management of the theatre. They opened with
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After Alexander died in 1918, the lease was taken over by
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with the greatest stars of the Parisian stage, including
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for four months. Among the novelties of that season was
556:
and extravaganzas, which were financially unsuccessful.
2826:, Victoria and Albert Museum. Retrieved 7 February 2019
2377:, October 1878, pp. 189–192; and "St James's Theatre",
2330:, Oxford University Press. Retrieved 10 February 2019
2552:, Oxford University Press. Retrieved 10 February 2019
2525:, Oxford University Press. Retrieved 10 February 2019
1516:; Coward took over the role of Charles Condomine from
1337:(1921) in which many future stars appeared, including
27:
Former theatre in City of Westminster, London, England
3266:(fifth ed.). London: Sir Isaac Pitman and Sons.
2803:, Oxford University Press. Retrieved 5 February 2019
2746:, Oxford University Press. Retrieved 5 February 2019
2241:, Oxford University Press. Retrieved 9 February 2019
2147:, Oxford University Press. Retrieved 9 February 2019
2495:"The Hare and Kendal Management at the St James's",
1634:
among the men, and their female colleagues included
2015:, British History Online. Retrieved 9 February 2019
1366:with Peter played by Edna Best (1920 and 1922) and
1068:. Their male colleagues included Arthur Bourchier,
3302:
2979:, 28 February 1936, p. 14; and Duncan, pp. 316–317
1602:, in which Leigh did not appear. In 1951, for the
1319:, with Ainley as Mark Antony and a cast including
954:. She followed this with a melodramatic new play,
582:Dulcamara! or, The Little Duck and the Great Quack
3371:With many archive images and original programmes.
1985:, a murder mystery by Raymond Bowers (June–July).
1478:. Of the later productions during the 1930s only
624:Mrs John Wood; Marie Litton and others: 1869–1878
608:. But the St James's had lost her a lot of money.
552:, who mounted a series of revivals and a few new
789:taste, and in the view of the theatre historian
620:and London society to the theatre in June 1868.
2693:"George Alexander and the St James's Theatre",
2058:, The Theatres Trust. Retrieved 8 February 2019
628:
3247:Sir George Alexander and the St James' Theatre
1423:made his London debut, starring with his wife
3420:Demolished buildings and structures in London
2141:"Mitchell, John (1806–1874), theatre manager"
1164:In February 1895 Alexander presented Wilde's
902:Rutland Barrington; Lillie Langtry: 1888–1890
474:who enthused London about the American-style
8:
30:For other theatres with a similar name, see
3415:Buildings and structures demolished in 1957
1486:(1939) ran for more than 100 performances.
1389:took a sub-lease of the theatre to present
1370:(1929), and Captain Hook by Ainley (1920),
289:style interior built by the partnership of
2718:Parker, pp. 97, 103, 187, 225, 887 and 898
759:The owner of the freehold of the theatre,
3309:. Cambridge: Cambridge University Press.
3166:. Cambridge: Cambridge University Press.
3126:, Arthur Lloyd. Retrieved 9 February 2019
3006:MacQueen-Pope, p. 203; and Duncan, p. 323
2880:"Mr. Shaw's New Play at the St James's",
2066:
2064:
1301:who presented and starred in an American
3162:Campbell, Edward; Peter O'Hagan (2016).
3101:
3099:
3097:
3035:
3033:
3023:
3021:
2962:
2960:
2954:, 5 June 1929, p. 12; and Duncan, p. 310
2937:
2935:
2791:
2789:
2744:Oxford Dictionary of National Biography
2295:
2293:
2256:
2254:
2235:"Vining family (per. 1807–1915), actors"
2231:"Wigan, Alfred Sydney (1814–1878), actor
532:'s first major play, a burlesque called
382:, whom the theatre critic and historian
3344:The Oxford Companion to Charles Dickens
3060:
3058:
2801:Oxford Dictionary of National Biography
2732:
2730:
2728:
2726:
2724:
2550:Oxford Dictionary of National Biography
2540:
2538:
2523:Oxford Dictionary of National Biography
2513:
2511:
2509:
2507:
2505:
2328:Oxford Dictionary of National Biography
2309:
2307:
2305:
2239:Oxford Dictionary of National Biography
2207:
2205:
2145:Oxford Dictionary of National Biography
1998:
1743:
1588:. In January 1950 Olivier and his wife
970:and had to abandon the season in June.
910:The St James's in the late 19th century
3324:Rollins, Cyril; R. John Witts (1962).
3305:The Cambridge Companion to Oscar Wilde
2761:
2759:
2714:
2712:
2689:
2687:
2685:
2683:
2491:
2489:
2487:
2485:
2483:
2481:
2035:Trewin, J. C. "Ghosts in St James's",
1506:and his company. In mid-1942 Coward's
370:Early managers: John Braham (top) and
2031:
2029:
2027:
2025:
2023:
2021:
2004:
2002:
1419:in her first straight part. In 1929,
1357:, started a run of 417 performances.
1283:, upstage, centre, as Mark Antony in
1095:catered to them in restaurant-going.
7:
2051:
2049:
2047:
737:John Hare and the Kendals: 1879–1888
705:, a short comic opera with music by
3347:. Oxford: Oxford University Press.
2824:: The first stage production, 1895"
2586:"Rutland Barrington's Bankruptcy",
1683:, and a short French season by the
914:In 1888 the comic singer and actor
866:; among their male colleagues were
801:. This was followed in December by
103:that the theatre began to prosper.
3341:Schlicke, Paul (3 November 2011).
3227:St James's: Theatre of Distinction
2797:"James, Henry (1843–1916), writer"
2172:Mander and Mitchenson, pp. 458–459
1415:(1928), notable only for starring
25:
3410:1957 disestablishments in England
3375:Profile and images of the theatre
3073:Campbell and O'Hagan, pp. 303–305
2929:Duncan, pp. 299, 302, 303 and 310
1953:(August 1956); Agatha Christie's
1385:In September 1925 du Maurier and
1123:, who made her name in the part.
643:In 1869 the theatre was taken by
536:, which ran for 80 performances.
32:St James Theatre (disambiguation)
2009:"St James Square: neighbourhood"
1806:La Grande-Duchesse de Gérolstein
274:Illustration of the interior by
3185:. London: Barrie and Rockliff.
3048:Brown, Ivor. "Some Talk of —",
2822:The Importance of Being Earnest
1606:season, they starred in Shaw's
1252:The Importance of Being Earnest
1167:The Importance of Being Earnest
1149:The Importance of Being Earnest
1132:The Importance of Being Earnest
1119:title role was first played by
725:, in which she co-starred with
559:A member of Webster's company,
123:The Importance of Being Earnest
3430:1835 establishments in England
1983:It's the Geography that Counts
1114:, presented in May 1893. Like
1:
3288:. New York: Harcourt, Brace.
3209:. London: Rupert Hart-Davis.
3114:Mander and Mitchenson, p. 484
3105:Mander and Mitchenson, p. 483
3039:Mander and Mitchenson, p. 482
3027:Mander and Mitchenson, p. 481
2966:Mander and Mitchenson, p. 480
2941:Mander and Mitchenson, p. 479
2870:. 3 February 1900. p. 9.
2499:, September 1888, pp. 134–145
2299:Mander and Mitchenson, p. 462
2260:Mander and Mitchenson, p. 461
2181:Mander and Mitchenson, p. 460
1957:(September 1956–March 1957);
1733:Notes, references and sources
1313:, and in 1920 they presented
647:, whose first production was
312:, London. After the opening,
2807:UK public library membership
2750:UK public library membership
2556:UK public library membership
2529:UK public library membership
2334:UK public library membership
2245:UK public library membership
2151:UK public library membership
2112:. Retrieved 10 February 2019
1888:The repertoire consisted of
699:, was in a triple-bill with
3380:Theatre timeline and images
2866:"News Summary – Domestic".
2038:The Illustrated London News
1830:had already been presented.
982:George Alexander: 1890–1918
950:attended by the Prince and
505:Five managements: 1858–1869
220:Background and construction
72:Façade of the theatre, 1836
3446:
3405:Theatres completed in 1835
3369:St James's Theatre History
3328:. London: Michael Joseph.
3262:Parker, John, ed. (1925).
3149:. London: Grant Richards.
2902:MacQueen-Pope, pp. 194–195
2677:, 22 November 1890, p. 708
2475:, 21 November 1891, p. 584
2449:, 10 December 1859, p. 709
2373:"Portraits: Miss Litton",
2364:Rollins and Witts, pp. 3–4
2083:"The St James's Theatre",
2070:"The St James's Theatre",
347:, with music by his wife,
29:
3395:Former theatres in London
2848:Sheppard, F. H. W. (ed.)
2577:Barrington, pp. 77 and 79
2041:, 5 February 1955, p. 228
1759:The operas they saw were
1726:Edward Bainbridge Copnall
1690:In 1954 Rattigan's play,
1445:The Late Christopher Bean
1236:, based on an episode in
685:In 1875 another actress,
304:balcony and a two-storey
160:The Late Christopher Bean
3264:Who's Who in the Theatre
2884:, 2 September 1913, p. 6
2839:, 5 December 1896, p. 13
2074:, 15 December 1835, p. 5
1909:Les Fourberies de Scapin
1111:The Second Mrs Tanqueray
1019:. He followed this with
1000:The Second Mrs Tanqueray
966:. Langtry fell ill with
674:made her London debut),
318:described it in detail:
257:Theatre Royal, Haymarket
181:(1950) and for the 1951
167:(1939). In January 1950
141:The Second Mrs Tanqueray
18:St. James's Theatre
3229:. London: W. H. Allen.
3207:Lost Theatres of London
2868:The Manchester Guardian
2621:"The London Theatres",
2612:, 26 October 1889, p. 8
2436:, 6 November 1839, p. 2
2434:The Theatrical Observer
1929:Les Fausses Confidences
1494:At the outbreak of the
1392:The Last of Mrs Cheyney
1256:Harley Granville Barker
1139:as Algernon (left) and
456:Every Man in his Humour
263:on the instructions of
150:The Last of Mrs Cheyney
3285:Modern Men and Mummers
3181:Duncan, Barry (1964).
2975:"St James's Theatre",
2950:"St James's Theatre",
2647:"St James's Theatre",
2634:"St James's Theatre",
2458:"St James's Theatre",
2432:"St James's Theatre",
2423:, 5 October 1879, p. 3
2419:"St James's Theatre",
1877:Duke of York's Theatre
1577:
1523:A Month in the Country
1403:(1927), a thriller by
1290:
1265:Androcles and the Lion
1144:
1004:
911:
756:
633:
616:starred, bringing the
517:
466:'s infant prodigies –
374:
333:Early years: 1835–1857
283:neo-classical exterior
278:
77:The St James's Theatre
73:
3249:. London: Macmillan.
3164:Pierre Boulez Studies
3052:, 20 March 1949, p. 2
2997:MacQueen-Pope, p. 203
2920:MacQueen-Pope, p. 198
2697:, 24 June 1899, p. 13
2608:"Theatrical Gossip",
2462:, 29 March 1875, p. 6
2383:, 28 March 1875, p. 4
1710:London County Council
1661:in the title role of
1568:
1512:transferred from the
1368:Jean Forbes-Robertson
1279:
1177:The Prisoner of Zenda
1129:
1116:Lady Windermere's Fan
1105:Lady Windermere's Fan
989:
909:
744:
650:She Stoops to Conquer
512:
441:Richard Coeur-de-Lion
369:
357:The Strange Gentleman
273:
117:Lady Windermere's Fan
71:
3301:Raby, Peter (1998).
3223:MacQueen-Pope, W. J.
3124:"St James's Theatre"
2664:, 19 July 1890, p. 8
2651:, 27 June 1890, p. 5
2625:,1 March 1890, p. 16
2599:MacQueen-Pope, p. 97
2590:, 16 May 1891, p. 11
2355:MacQueen-Pope, p. 62
2313:MacQueen-Pope, p. 61
2287:MacQueen-Pope, p. 56
2278:MacQueen-Pope, p. 52
2233:and Reynolds, K. D.
2190:MacQueen-Pope, p. 42
2121:MacQueen-Pope, p. 39
2056:"St James's Theatre"
1797:The two operas were
1704:. During the run of
1615:Antony and Cleopatra
1609:Caesar and Cleopatra
1500:Ladies in Retirement
1484:Ladies in Retirement
1155:had written a play,
1121:Mrs Patrick Campbell
991:Mrs Patrick Campbell
799:The Queen's Shilling
579:'s first burlesque,
546:Lady Audley's Secret
472:Ethiopian Serenaders
426:, and followed with
194:Antony and Cleopatra
188:Caesar and Cleopatra
165:Ladies in Retirement
54:51.50603°N 0.13758°W
3141:Barrington, Rutland
3064:Duncan, pp. 336–338
2988:Duncan, pp. 363–364
2673:"Dramatic Gossip",
2662:The Bristol Mercury
2660:"Theatrical Mems",
2473:The Saturday Review
2447:The Saturday Review
2220:Duncan, pp. 109–110
1981:(May); and finally
1772:La clemenza di Tito
1651:Jean-Louis Barrault
1604:Festival of Britain
1560:Alexander the Great
1459:Pride and Prejudice
1234:Paolo and Francesca
1229:Manchester Guardian
1224:the Prince of Wales
1200:and H. V. Esmond.
1013:Sunlight and Shadow
928:The Dean's Daughter
637:W. J. MacQueen-Pope
597:W. J. MacQueen-Pope
349:Mary Anne à Beckett
238:area, on a site in
183:Festival of Britain
50: /
2835:"As You Like It",
2638:, 5 May 1890, p. 3
2544:Foulkes, Richard.
2013:Old and New London
1979:The Restless Heart
1932:and the mime play
1924:Pierre de Marivaux
1628:Wilfred Hyde White
1612:and Shakespeare's
1578:
1537:Ten Little Niggers
1514:Piccadilly Theatre
1397:Frederick Lonsdale
1291:
1248:His House in Order
1145:
1042:Lilian Braithwaite
1007:In 1891 the actor
1005:
916:Rutland Barrington
912:
757:
680:Jenny Lind at Last
614:Hortense Schneider
518:
516:, lessee 1864–1868
418:Frédérick Lemaître
375:
279:
276:John Gregory Crace
227:Old and New London
74:
59:51.50603; -0.13758
3354:978-0-19-964018-8
3316:978-0-521-47471-9
3173:978-1-107-06265-8
2805:(subscription or
2748:(subscription or
2636:The Morning Post
2554:(subscription or
2527:(subscription or
2332:(subscription or
2322:Taylor, C. M. P.
2243:(subscription or
2149:(subscription or
2139:Middleton, L. M.
2130:Duncan, pp. 57–58
1698:Margaret Leighton
1685:Comédie-Française
1554:(1949), starring
1542:Cambridge Theatre
1380:Gerald du Maurier
1353:, a melodrama by
1351:The Green Goddess
1334:Polly With a Past
1307:The Eyes of Youth
1243:The Divine Comedy
1215:Rupert of Hentzau
1054:Juliette Nesville
1052:, Julia Neilson,
1046:Constance Collier
952:Princess of Wales
937:Brantinghame Hall
820:The Money Spinner
723:Conrad and Medora
499:Christy Minstrels
491:Jacques Offenbach
339:Gilbert à Beckett
291:Grissell and Peto
16:(Redirected from
3437:
3358:
3337:
3320:
3308:
3297:
3280:Pearson, Hesketh
3275:
3258:
3238:
3218:
3194:
3177:
3158:
3127:
3121:
3115:
3112:
3106:
3103:
3092:
3089:
3083:
3080:
3074:
3071:
3065:
3062:
3053:
3046:
3040:
3037:
3028:
3025:
3016:
3013:
3007:
3004:
2998:
2995:
2989:
2986:
2980:
2973:
2967:
2964:
2955:
2948:
2942:
2939:
2930:
2927:
2921:
2918:
2912:
2909:
2903:
2900:
2894:
2891:
2885:
2878:
2872:
2871:
2863:
2857:
2854:Survey of London
2846:
2840:
2833:
2827:
2817:
2811:
2810:
2793:
2784:
2781:
2775:
2772:
2766:
2763:
2754:
2753:
2734:
2719:
2716:
2707:
2704:
2698:
2691:
2678:
2671:
2665:
2658:
2652:
2645:
2639:
2632:
2626:
2619:
2613:
2606:
2600:
2597:
2591:
2584:
2578:
2575:
2569:
2566:
2560:
2559:
2542:
2533:
2532:
2515:
2500:
2493:
2476:
2471:"Lord Anerley",
2469:
2463:
2460:The Morning Post
2456:
2450:
2445:"The Theatres",
2443:
2437:
2430:
2424:
2417:
2411:
2408:
2402:
2399:
2393:
2390:
2384:
2371:
2365:
2362:
2356:
2353:
2347:
2344:
2338:
2337:
2320:
2314:
2311:
2300:
2297:
2288:
2285:
2279:
2276:
2270:
2267:
2261:
2258:
2249:
2248:
2229:Knight, Joseph.
2227:
2221:
2218:
2212:
2209:
2200:
2197:
2191:
2188:
2182:
2179:
2173:
2170:
2164:
2161:
2155:
2154:
2137:
2131:
2128:
2122:
2119:
2113:
2110:Survey of London
2103:
2097:
2094:
2088:
2085:The Morning Post
2081:
2075:
2068:
2059:
2053:
2042:
2033:
2016:
2006:
1986:
1973:, March–April);
1959:Roger MacDougall
1943:
1937:
1886:
1880:
1870:
1864:
1860:
1854:
1851:
1845:
1842:George Alexander
1837:
1831:
1816:
1810:
1795:
1789:
1786:
1780:
1757:
1751:
1748:
1655:Madeleine Renaud
1586:Laurence Olivier
1574:Laurence Olivier
1552:Terence Rattigan
1528:Michael Redgrave
1496:Second World War
1454:Cedric Hardwicke
1299:Gertrude Elliott
1141:George Alexander
1137:Allan Aynesworth
1017:The Gay Lothario
1009:George Alexander
995:George Alexander
972:Arthur Bourchier
876:Albert Chevalier
872:Allan Aynesworth
868:George Alexander
862:, and the young
846:B. C. Stephenson
818:Wearing regards
771:and her husband
727:Henrietta Hodson
676:Anne Bracegirdle
655:La Belle Sauvage
639:
592:L'elisir d'amore
550:Benjamin Webster
522:F. B. Chatterton
414:Virginie Déjazet
353:Monsieur Jacques
261:Lord Chamberlain
202:Terence Rattigan
169:Laurence Olivier
135:
131:
108:George Alexander
65:
64:
62:
61:
60:
55:
51:
48:
47:
46:
43:
21:
3445:
3444:
3440:
3439:
3438:
3436:
3435:
3434:
3385:
3384:
3365:
3355:
3340:
3323:
3317:
3300:
3278:
3261:
3243:Mason, A. E. W.
3241:
3221:
3199:Mander, Raymond
3197:
3180:
3174:
3161:
3139:
3136:
3131:
3130:
3122:
3118:
3113:
3109:
3104:
3095:
3090:
3086:
3081:
3077:
3072:
3068:
3063:
3056:
3047:
3043:
3038:
3031:
3026:
3019:
3014:
3010:
3005:
3001:
2996:
2992:
2987:
2983:
2974:
2970:
2965:
2958:
2949:
2945:
2940:
2933:
2928:
2924:
2919:
2915:
2910:
2906:
2901:
2897:
2892:
2888:
2879:
2875:
2865:
2864:
2860:
2847:
2843:
2834:
2830:
2818:
2814:
2804:
2795:Horne, Philip.
2794:
2787:
2782:
2778:
2773:
2769:
2764:
2757:
2747:
2735:
2722:
2717:
2710:
2705:
2701:
2692:
2681:
2672:
2668:
2659:
2655:
2646:
2642:
2633:
2629:
2620:
2616:
2607:
2603:
2598:
2594:
2585:
2581:
2576:
2572:
2567:
2563:
2553:
2543:
2536:
2526:
2517:Wearing, J. P.
2516:
2503:
2494:
2479:
2470:
2466:
2457:
2453:
2444:
2440:
2431:
2427:
2418:
2414:
2409:
2405:
2400:
2396:
2391:
2387:
2372:
2368:
2363:
2359:
2354:
2350:
2345:
2341:
2331:
2321:
2317:
2312:
2303:
2298:
2291:
2286:
2282:
2277:
2273:
2268:
2264:
2259:
2252:
2242:
2228:
2224:
2219:
2215:
2210:
2203:
2198:
2194:
2189:
2185:
2180:
2176:
2171:
2167:
2163:Schlicke, p. 13
2162:
2158:
2148:
2138:
2134:
2129:
2125:
2120:
2116:
2104:
2100:
2095:
2091:
2082:
2078:
2069:
2062:
2054:
2045:
2034:
2019:
2007:
2000:
1995:
1990:
1989:
1944:
1940:
1894:Partage de Midi
1887:
1883:
1873:Black Limelight
1871:
1867:
1861:
1857:
1852:
1848:
1838:
1834:
1817:
1813:
1800:La belle Hélène
1796:
1792:
1787:
1783:
1758:
1754:
1749:
1745:
1740:
1735:
1718:Separate Tables
1706:Separate Tables
1693:Separate Tables
1677:Ruggero Ruggeri
1624:Richard Goolden
1620:Robert Helpmann
1594:Christopher Fry
1547:Adventure Story
1532:Agatha Christie
1492:
1431:, presented by
1372:Ernest Thesiger
1274:
1186:C. Aubrey Smith
1089:Hesketh Pearson
1066:Violet Vanbrugh
1040:companies were
1025:Haddon Chambers
984:
920:Olga Nethersole
904:
860:Helen Maud Holt
840:The Hobby Horse
809:, based on the
739:
731:The Danischeffs
707:Arthur Sullivan
641:
635:
626:
618:Prince of Wales
606:Charles Wyndham
569:Dion Boucicault
507:
435:La dame blanche
361:Charles Dickens
355:– and a farce,
335:
222:
217:
207:Separate Tables
133:
129:
58:
56:
52:
49:
44:
41:
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37:
36:
34:
28:
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3397:
3387:
3386:
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3382:
3377:
3372:
3364:
3363:External links
3361:
3360:
3359:
3353:
3338:
3321:
3315:
3298:
3276:
3259:
3239:
3219:
3203:Joe Mitchenson
3195:
3178:
3172:
3159:
3135:
3132:
3129:
3128:
3116:
3107:
3093:
3091:Duncan, p. 340
3084:
3082:Duncan, p. 339
3075:
3066:
3054:
3041:
3029:
3017:
3015:Duncan, p. 323
3008:
2999:
2990:
2981:
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2922:
2913:
2911:Duncan, p. 300
2904:
2895:
2893:Duncan, p. 298
2886:
2873:
2858:
2841:
2828:
2812:
2785:
2776:
2767:
2765:Pearson, p. 74
2755:
2737:Wearing, J. P.
2720:
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2699:
2679:
2666:
2653:
2640:
2627:
2614:
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2592:
2579:
2570:
2568:Parker, p. 986
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2477:
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2425:
2412:
2410:Duncan, p. 184
2403:
2401:Duncan, p. 176
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2392:Duncan, p. 182
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2346:Duncan, p. 157
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2269:Duncan, p. 122
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2213:
2211:Duncan, p. 103
2201:
2199:Duncan, p. 102
2192:
2183:
2174:
2165:
2156:
2132:
2123:
2114:
2098:
2089:
2076:
2060:
2043:
2017:
1997:
1996:
1994:
1991:
1988:
1987:
1938:
1881:
1865:
1855:
1846:
1832:
1811:
1790:
1781:
1752:
1742:
1741:
1739:
1736:
1734:
1731:
1714:House of Lords
1599:Venus Observed
1491:
1488:
1462:, designed by
1450:Louise Hampton
1440:Emlyn Williams
1409:Harold Dearden
1405:Roland Pertwee
1355:William Archer
1295:Gilbert Miller
1273:
1270:
1210:Percy Macquoid
1198:Robert Loraine
1190:Bertram Wallis
1182:As You Like It
1174:swashbuckler,
1135:in 1895, with
1078:Godfrey Tearle
1037:A. E. W. Mason
983:
980:
960:Edward Solomon
956:Esther Sandraz
948:As You Like It
944:Lillie Langtry
903:
900:
888:Brandon Thomas
884:William Terris
855:As You Like It
832:The Ironmaster
738:
735:
719:William Brough
711:Frank Marshall
627:
625:
622:
610:
609:
585:, a parody of
526:Barry Sullivan
506:
503:
476:minstrel shows
429:L'ambassadrice
423:Le domino noir
398:Queen Victoria
393:Der Freischütz
388:Prince Consort
341:and an opera,
334:
331:
330:
329:
310:Wigmore Street
253:Samuel Beazley
249:Theatres Trust
221:
218:
216:
213:
178:Venus Observed
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
3442:
3431:
3428:
3426:
3423:
3421:
3418:
3416:
3413:
3411:
3408:
3406:
3403:
3401:
3398:
3396:
3393:
3392:
3390:
3381:
3378:
3376:
3373:
3370:
3367:
3366:
3362:
3356:
3350:
3346:
3345:
3339:
3335:
3331:
3327:
3322:
3318:
3312:
3307:
3306:
3299:
3295:
3291:
3287:
3286:
3281:
3277:
3273:
3269:
3265:
3260:
3256:
3252:
3248:
3244:
3240:
3236:
3232:
3228:
3224:
3220:
3216:
3212:
3208:
3204:
3200:
3196:
3192:
3188:
3184:
3179:
3175:
3169:
3165:
3160:
3156:
3152:
3148:
3147:
3142:
3138:
3137:
3133:
3125:
3120:
3117:
3111:
3108:
3102:
3100:
3098:
3094:
3088:
3085:
3079:
3076:
3070:
3067:
3061:
3059:
3055:
3051:
3045:
3042:
3036:
3034:
3030:
3024:
3022:
3018:
3012:
3009:
3003:
3000:
2994:
2991:
2985:
2982:
2978:
2972:
2969:
2963:
2961:
2957:
2953:
2947:
2944:
2938:
2936:
2932:
2926:
2923:
2917:
2914:
2908:
2905:
2899:
2896:
2890:
2887:
2883:
2877:
2874:
2869:
2862:
2859:
2855:
2851:
2850:"King Street"
2845:
2842:
2838:
2832:
2829:
2825:
2823:
2816:
2813:
2808:
2802:
2798:
2792:
2790:
2786:
2780:
2777:
2771:
2768:
2762:
2760:
2756:
2751:
2745:
2741:
2738:
2733:
2731:
2729:
2727:
2725:
2721:
2715:
2713:
2709:
2703:
2700:
2696:
2690:
2688:
2686:
2684:
2680:
2676:
2675:The Athenaeum
2670:
2667:
2663:
2657:
2654:
2650:
2644:
2641:
2637:
2631:
2628:
2624:
2618:
2615:
2611:
2605:
2602:
2596:
2593:
2589:
2583:
2580:
2574:
2571:
2565:
2562:
2557:
2551:
2547:
2541:
2539:
2535:
2530:
2524:
2520:
2514:
2512:
2510:
2508:
2506:
2502:
2498:
2492:
2490:
2488:
2486:
2484:
2482:
2478:
2474:
2468:
2465:
2461:
2455:
2452:
2448:
2442:
2439:
2435:
2429:
2426:
2422:
2416:
2413:
2407:
2404:
2398:
2395:
2389:
2386:
2382:
2381:
2376:
2370:
2367:
2361:
2358:
2352:
2349:
2343:
2340:
2335:
2329:
2325:
2319:
2316:
2310:
2308:
2306:
2302:
2296:
2294:
2290:
2284:
2281:
2275:
2272:
2266:
2263:
2257:
2255:
2251:
2246:
2240:
2236:
2232:
2226:
2223:
2217:
2214:
2208:
2206:
2202:
2196:
2193:
2187:
2184:
2178:
2175:
2169:
2166:
2160:
2157:
2152:
2146:
2142:
2136:
2133:
2127:
2124:
2118:
2115:
2111:
2107:
2106:"King Street"
2102:
2099:
2096:Duncan, p. 53
2093:
2090:
2086:
2080:
2077:
2073:
2067:
2065:
2061:
2057:
2052:
2050:
2048:
2044:
2040:
2039:
2032:
2030:
2028:
2026:
2024:
2022:
2018:
2014:
2010:
2005:
2003:
1999:
1992:
1984:
1980:
1976:
1972:
1968:
1964:
1960:
1956:
1952:
1951:The Long Echo
1948:
1942:
1939:
1935:
1931:
1930:
1925:
1921:
1920:
1915:
1911:
1910:
1905:
1904:
1899:
1895:
1891:
1885:
1882:
1878:
1874:
1869:
1866:
1859:
1856:
1850:
1847:
1843:
1836:
1833:
1829:
1828:
1827:Trial by Jury
1823:
1822:
1815:
1812:
1808:
1807:
1802:
1801:
1794:
1791:
1785:
1782:
1778:
1774:
1773:
1768:
1764:
1763:
1756:
1753:
1747:
1744:
1737:
1732:
1730:
1727:
1722:
1719:
1715:
1711:
1707:
1703:
1699:
1695:
1694:
1688:
1686:
1682:
1678:
1674:
1670:
1666:
1665:
1660:
1656:
1652:
1647:
1645:
1641:
1640:Maxine Audley
1637:
1636:Elspeth March
1633:
1632:Peter Cushing
1629:
1625:
1621:
1617:
1616:
1611:
1610:
1605:
1601:
1600:
1596:'s new play,
1595:
1591:
1587:
1583:
1575:
1571:
1567:
1563:
1561:
1557:
1556:Paul Scofield
1553:
1549:
1548:
1543:
1539:
1538:
1533:
1529:
1525:
1524:
1519:
1515:
1511:
1510:
1509:Blithe Spirit
1505:
1504:Donald Wolfit
1501:
1497:
1489:
1487:
1485:
1481:
1477:
1476:Hugh Williams
1473:
1472:Celia Johnson
1469:
1465:
1461:
1460:
1455:
1451:
1447:
1446:
1441:
1436:
1434:
1433:C. B. Cochran
1430:
1426:
1425:Lynn Fontanne
1422:
1418:
1417:Gracie Fields
1414:
1410:
1406:
1402:
1398:
1394:
1393:
1388:
1387:Gladys Cooper
1383:
1381:
1377:
1373:
1369:
1365:
1364:
1358:
1356:
1352:
1348:
1344:
1340:
1336:
1335:
1330:
1329:Milton Rosmer
1326:
1322:
1318:
1317:
1316:Julius Caesar
1312:
1308:
1304:
1300:
1296:
1288:
1287:
1286:Julius Caesar
1282:
1278:
1271:
1269:
1267:
1266:
1261:
1257:
1253:
1249:
1245:
1244:
1239:
1235:
1231:
1230:
1225:
1221:
1217:
1216:
1211:
1206:
1201:
1199:
1195:
1191:
1187:
1183:
1179:
1178:
1173:
1169:
1168:
1162:
1160:
1159:
1154:
1150:
1142:
1138:
1134:
1133:
1128:
1124:
1122:
1117:
1113:
1112:
1107:
1106:
1101:
1096:
1094:
1090:
1085:
1083:
1079:
1075:
1071:
1067:
1063:
1059:
1055:
1051:
1047:
1043:
1038:
1034:
1030:
1026:
1022:
1018:
1014:
1010:
1002:
1001:
996:
992:
988:
981:
979:
977:
973:
969:
965:
961:
957:
953:
949:
945:
941:
939:
938:
933:
932:Sydney Grundy
929:
925:
924:Julia Neilson
921:
917:
908:
901:
899:
895:
893:
889:
885:
881:
877:
873:
869:
865:
861:
857:
856:
851:
847:
843:
841:
837:
833:
829:
825:
821:
816:
814:
813:
808:
804:
800:
794:
792:
791:J. P. Wearing
786:
784:
783:
778:
774:
770:
766:
762:
755:
751:
747:
743:
736:
734:
732:
728:
724:
721:'s burlesque
720:
716:
712:
708:
704:
703:
698:
697:
692:
691:Court Theatre
688:
683:
681:
677:
673:
669:
665:
664:
660:
656:
652:
651:
646:
645:Mrs John Wood
640:
638:
632:
623:
621:
619:
615:
607:
602:
601:
600:
598:
594:
593:
588:
584:
583:
578:
577:W. S. Gilbert
574:
570:
566:
562:
557:
555:
551:
547:
543:
542:George Vining
539:
535:
531:
530:F. C. Burnand
528:, and staged
527:
523:
515:
511:
504:
502:
500:
496:
492:
488:
484:
483:Charles Reade
479:
477:
473:
469:
465:
461:
457:
453:
449:
448:
443:
442:
437:
436:
431:
430:
425:
424:
419:
415:
411:
410:Jeanne Plessy
407:
401:
399:
395:
394:
389:
385:
381:
373:
368:
364:
362:
358:
354:
350:
346:
345:
340:
332:
326:
325:tout ensemble
321:
320:
319:
317:
316:
311:
307:
303:
299:
296:
292:
288:
284:
277:
272:
268:
266:
262:
258:
254:
250:
245:
241:
237:
233:
229:
228:
219:
214:
212:
209:
208:
203:
198:
196:
195:
190:
189:
184:
180:
179:
174:
171:and his wife
170:
166:
162:
161:
156:
152:
151:
145:
143:
142:
137:
125:
124:
119:
118:
113:
109:
104:
102:
98:
94:
90:
86:
82:
78:
70:
66:
63:
33:
19:
3343:
3325:
3304:
3284:
3263:
3246:
3226:
3206:
3182:
3163:
3145:
3119:
3110:
3087:
3078:
3069:
3050:The Observer
3049:
3044:
3011:
3002:
2993:
2984:
2976:
2971:
2951:
2946:
2925:
2916:
2907:
2898:
2889:
2881:
2876:
2867:
2861:
2853:
2844:
2836:
2831:
2821:
2815:
2800:
2783:Mason, p. 63
2779:
2774:Raby, p. 144
2770:
2743:
2702:
2694:
2674:
2669:
2661:
2656:
2649:The Standard
2648:
2643:
2635:
2630:
2622:
2617:
2609:
2604:
2595:
2587:
2582:
2573:
2564:
2549:
2522:
2496:
2472:
2467:
2459:
2454:
2446:
2441:
2433:
2428:
2420:
2415:
2406:
2397:
2388:
2378:
2374:
2369:
2360:
2351:
2342:
2327:
2318:
2283:
2274:
2265:
2238:
2225:
2216:
2195:
2186:
2177:
2168:
2159:
2144:
2135:
2126:
2117:
2109:
2101:
2092:
2084:
2079:
2071:
2036:
2012:
1982:
1978:
1975:Jean Anouilh
1967:Double Image
1966:
1955:Towards Zero
1954:
1950:
1947:Lesley Storm
1941:
1933:
1927:
1917:
1907:
1901:
1893:
1890:Paul Claudel
1884:
1872:
1868:
1858:
1849:
1835:
1825:
1819:
1814:
1804:
1798:
1793:
1784:
1770:
1760:
1755:
1746:
1723:
1717:
1705:
1702:Eric Portman
1691:
1689:
1679:in plays by
1671:as Iago and
1662:
1659:Orson Welles
1648:
1644:Jill Bennett
1613:
1607:
1597:
1590:Vivien Leigh
1579:
1570:Vivien Leigh
1545:
1535:
1521:
1518:Cecil Parker
1507:
1499:
1493:
1483:
1479:
1470:and starred
1464:Rex Whistler
1457:
1443:
1437:
1428:
1412:
1401:Interference
1400:
1390:
1384:
1378:(1922), and
1361:
1359:
1350:
1332:
1325:Claude Rains
1314:
1311:Henry Ainley
1306:
1292:
1284:
1281:Henry Ainley
1263:
1260:Bernard Shaw
1251:
1247:
1241:
1233:
1227:
1222:attended by
1220:Anthony Hope
1213:
1204:
1202:
1194:H. B. Irving
1181:
1175:
1165:
1163:
1158:Guy Domville
1156:
1148:
1146:
1130:
1115:
1109:
1103:
1097:
1086:
1070:H. V. Esmond
1058:Marion Terry
1033:Walter Frith
1028:
1020:
1016:
1012:
1006:
998:
975:
963:
955:
947:
942:
935:
927:
913:
896:
892:Lewis Waller
880:Henry Kemble
853:
849:
844:
839:
838:(1885), and
835:
831:
827:
824:A. W. Pinero
819:
817:
810:
806:
798:
795:
787:
780:
777:Walter Crane
769:Madge Kendal
758:
754:W. H. Kendal
750:Madge Kendal
730:
722:
714:
700:
694:
687:Marie Litton
684:
679:
675:
672:Fanny Brough
667:
661:
659:John Poole's
654:
648:
642:
634:
629:
611:
590:
580:
572:
565:Henry Irving
561:Ruth Herbert
558:
545:
538:Alfred Wigan
533:
519:
514:Ruth Herbert
495:opéra bouffe
493:brought his
480:
464:P. T. Barnum
460:Fanny Kemble
455:
445:
439:
433:
427:
421:
402:
391:
384:J. C. Trewin
376:
359:, by "Boz" (
356:
352:
342:
336:
324:
313:
280:
225:
223:
205:
199:
192:
186:
176:
173:Vivien Leigh
164:
158:
155:Interference
154:
148:
146:
139:
126:(1895), and
121:
115:
105:
101:W. H. Kendal
76:
75:
35:
2706:Mason, p. 2
2497:The Theatre
2375:The Theatre
1767:Louis Spohr
1669:Peter Finch
1580:The critic
1482:(1938) and
1421:Alfred Lunt
1376:Lyn Harding
1347:Noël Coward
1343:Edith Evans
1153:Henry James
1100:Oscar Wilde
1093:Savoy Hotel
1074:Cyril Maude
1050:Kate Cutler
573:Hunted Down
487:J. L. Toole
380:Alfred Bunn
372:Alfred Bunn
344:Agnes Sorel
302:balustraded
240:King Street
232:John Braham
163:(1933) and
120:(1892) and
112:Oscar Wilde
89:John Braham
81:King Street
57: /
3425:St James's
3389:Categories
1993:References
1969:(from the
1903:Amphitryon
1681:Pirandello
1673:Gudrun Ure
1582:Ivor Brown
1480:Golden Boy
1468:Max Gordon
1349:. In 1923
1339:Helen Haye
1321:Basil Gill
1172:Ruritanian
1082:Fred Terry
864:May Whitty
848:'s comedy
828:The Squire
807:The Falcon
761:Lord Newry
670:(in which
554:burlesques
452:Ben Jonson
265:William IV
236:St James's
85:St James's
42:51°30′22″N
3334:504581419
3294:474214741
3255:869837482
3235:314698001
3191:979694996
2977:The Times
2952:The Times
2882:The Times
2809:required)
2752:required)
2558:required)
2531:required)
2336:required)
2247:required)
2153:required)
2072:The Times
1963:Ted Allan
1526:starring
1490:1940–1957
1363:Peter Pan
1272:1918–1939
1268:in 1913.
1021:The Idler
976:Your Wife
964:The Tiger
812:Decameron
765:John Hare
746:John Hare
713:'s farce
587:Donizetti
447:Le chalet
328:brethren.
315:The Times
287:Louis XIV
244:Pall Mall
93:John Hare
45:0°08′15″W
3282:(1922).
3272:10013159
3245:(1935).
3225:(1958).
3205:(1968).
3143:(1908).
1934:Baptiste
1914:Voltaire
1382:(1929).
1374:(1921),
1102:, whose
968:pleurisy
842:(1886).
834:(1884),
830:(1881),
803:Tennyson
715:Brighton
696:Tom Cobb
668:Fernande
663:Paul Pry
599:writes:
224:In 1878
200:In 1954
157:(1927),
153:(1925),
144:(1893).
3155:7745426
3134:Sources
2837:The Era
2695:The Era
2623:The Era
2610:The Era
2588:The Era
2421:The Era
2380:The Era
1898:Molière
1821:Thespis
1667:, with
1664:Othello
1429:Caprice
1303:fantasy
1205:The Era
1143:as Jack
1029:Moliere
850:Impulse
836:Mayfair
782:The Era
773:William
702:The Zoo
298:portico
215:History
185:season
79:was in
3351:
3332:
3313:
3292:
3270:
3253:
3233:
3213:
3189:
3170:
3153:
2087:, p. 2
1919:Oedipe
1777:Mozart
1576:(1948)
1305:play,
1289:, 1920
1226:. The
1003:, 1893
678:, and
406:Rachel
306:loggia
285:and a
136:Pinero
134:
130:
3215:41974
1971:Savoy
1762:Faust
1738:Notes
1413:S.O.S
1238:Dante
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