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waterfall effects, were supplied with water from the New River alongside the theatre. The historian
Shirley S. Allen writes that such was the remarkable realism in the performance of sea stories that Sadler's Wells became for thirty years the home of the "nautical drama". Grimaldi, by the early 19th century established as "the unchallenged king of clowns", continued as the theatre's principal clown until 1820, while pursuing a parallel career at Drury Lane.
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mass of incomprehensible vagabonds" – but after his death in 1743 John Warren took over, and standards fell again, to the extent that the authorities closed the place. The lease was acquired by Thomas
Rosoman and Peter Hough, who reopened Sadler's Wells in April 1746. According to Arundell they "thereby started twenty years' prosperity for the old wooden theatre". Rosoman substantially reconstructed the wooden building in 1748–49.
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1055:. It opened in October 1998 with a design that incorporates the skeleton of the 1931 Chancellor theatre (which itself contained bricks from the Victorian structure). It has an expanded 15 m sprung stage, a 1,500-seat auditorium, three rehearsal studios and the smaller 200-seat Lilian Baylis studio theatre for the development and presentation of small-scale work. The current building retains the
334:– and Sadler started marketing the water from his wells. Visitors to the Musick-House began to drink it, and many London physicians recommended their patients to do so. By the end of the summer of 1685 five or six hundred people frequented the Musick-House every morning for the water. Sadler laid out ornamental gardens and engaged entertainers to amuse his patrons: there were tumblers,
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Arundell conjectures that by 1697 Sadler had either died or retired; Forcer went into partnership with a glover, James Miles, and the wooden auditorium was renamed "Miles's Musick-House". Under their management the public could hear ballad singers and see jugglers, wrestlers, fighters, dancing dogs and, according to the theatre's 21st-century historian, "even a singing duck".
435:. This suited both theatres, as at that time Sadler's Wells customarily opened from late spring to early autumn and the patent theatres were open for the other half of the year. Arundell comments that this engagement added to the prestige of Sadler's Wells "and ultimately benefited the place enormously, for the new Ballet Master was Giuseppe Grimaldi". (Grimaldi's son,
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Bateman hoped to restore the theatre's reputation as a classical playhouse, as in Phelps's time, but she died in 1881. The historian Philip Temple quotes an earlier writer's comment that despite
Bateman's improvements, "in the 1880s the Saturday night gallery contained the most villainous, desperate,
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to design a new interior for the theatre, which reopened in
October 1879. Phipps remodelled the auditorium, with a stronger horseshoe profile for the front of the dress circle and the gallery above. These extended further toward the stage than the previous circle and gallery, increasing the theatre's
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The current theatre dates from 1998. It consists of two performance spaces: a 1,500-seat main auditorium and the Lilian Baylis Studio, with extensive rehearsal rooms and technical facilities also housed within the site. Sadler's Wells is now chiefly known as a dance venue. As well as hosting visiting
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were permitted to present non-musical dramas. Sadler's Wells and other theatres were obliged by the Minor
Theatres Act (1751) to avoid spoken dialogue. To circumvent this rule, theatre managers had their actors speaking against a continuous background of instrumental music, so that it was passed off
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Miles died in 1724, and under Forcer's son the auditorium was "entirely new modelled and made every way more commodious than heretofore for the better reception of company". Forcer junior sought to improve standards – according to one historian he "succeeded, to a great degree," in driving away "the
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the government requisitioned Sadler's Wells as a refuge for those made homeless by air-raids. The two companies toured for the duration of the war. When the theatre reopened in 1945 the companies were briefly reunited there, but de Valois objected to
Guthrie's treatment of her company as the junior
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The main company became the Royal Ballet in 1956. In 1957 the Sadler's Wells company was renamed the Royal Ballet
Touring Company, and in 1976 it became Sadler's Wells Royal Ballet. In 1990 the company left Sadler's Wells and moved to Birmingham as the Birmingham Royal Ballet, but has continued to
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For the first few years the opera, drama and ballet companies, known as the "Vic-Wells" companies, moved between the Old Vic and Sadler's Wells but by 1935 the established pattern was drama at the former and opera and ballet at the latter. In 1935 both the opera and ballet companies went on summer
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he was Edward. It is also uncertain when Sadler established his auditorium: many sources give the year as 1683; others give it as 1684 or 1685. According to
Arundell, Sadler had already opened his "Musick-House" at an unspecified date before 1683; a history of the house published in 1847 confines
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The initial popularity of Sadler's spa did not last long, and by 1691 it had ceased to be a fashionable resort. He sold two of his wells, and the original one dried up for a time; his entertainments became the main draw for those of the public still interested. There is no documentary proof, but
1185:, D'Oyly Carte's traditional London home, of a substantially larger seating capacity: 1,639 as against 1,138. The company gave sixteen seasons at the Savoy and other London theatres between 1938 and its closing in 1982, but it gave most of its London seasons at Sadler's Wells from 1935 onwards.
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Rosoman was a builder by trade, and he had the wooden theatre replaced with a brick structure. The new building was completed in seven weeks, and cost £4,225; it opened in April 1765. The new house was well received: a London newspaper reported, "Sadler's Wells is now rebuilt and considerably
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Sadler's Wells reopened in 1802 with an interior "entirely re-built at an immense
Expence". In 1804 it acquired a new attraction, dubbed the Aqua-show. A huge water tank was installed under the stage for the production of aquatic spectacles. This tank and a second, above the stage to provide
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In 1771 Rosoman retired. He sold his three-quarter share in the theatre to Thomas King, a friend and Drury Lane colleague of
Garrick. King took over the management from December 1771, and continued to offer entertainments of the traditional variety – tumblers, singers, acrobats and "Several
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managed and starred at the theatre. He intended to bring Shakespeare to the masses. Sadler's Wells at this stage had a largely local Islington audience, working class and relatively uneducated; economically the theatre had its advantages: a large capacity (2,500) and a low rent.
598:. His productions purged Shakespeare's texts of 18th-century alterations and additions, and he presented the plays with attention to period detail and dramatic veracity. The theatre began to attract audiences from beyond Islington, including literary figures such as
891:, hoped to relocate the company there. The plans fell through when the government declined to contribute to the capital cost of the proposed building, but Arlen remained convinced that Sadler's Wells was too small for productions of large-scale works such as
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to base her main ballet company at the reopened Covent Garden, opening there in 1946, leaving Sadler's Wells with a small company known as the Sadler's Wells Theatre Ballet. The previous year the theatre had hosted the world premiere of Benjamin Britten's
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reported, "The changes made are so remarkable that Sadler's Wells may now claim to be one of the largest and most conveniently-constructed London Theatres". By this time Islington was no longer an isolated village but an inner suburb of the capital, and
190:, and spectacular entertainments such as sea battles in a huge water tank on the stage. In the mid-19th century, when the law was changed to remove restrictions on staging drama, Sadler's Wells became celebrated for the seasons of plays by
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In the 1790s Dibdin was stage manager as well as composer, with Grimaldi as comic star. The theatre was by now in need of renovation, not least because of concerns about safety. The proprietors, led by William Siddons, husband of
756:, with cheap prices aimed at attracting a local, working-class audience. In 1925 she began a campaign to reopen the derelict Sadler's Wells on a similar basis. She raised the necessary funds and the new theatre was designed by
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Phelps believed that the theatre should be a "place for justly representing the works of our great dramatic poets", particularly since the leading London theatres were not presenting "the real drama of England". His biographer
439:, later became one of Sadler's Wells's star attractions.) Rosoman prospered and in the summer of 1764 he announced that Sadler's Wells would be pulled down at the end of the season and rebuilt "in a most elegant manner".
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as "a nursery of debauchery", and the place was frequented by many "unaccountable and disorderly" people. In 1712 a man called French was sentenced to death at the Old Bailey for killing a Mr Thwaits at Sadler's Wells.
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culture through performance and education." The theatre now claims to create and share more new work than any other dance organisation in the world. In the 2020s the theatre has been criticised for its sponsorship by
906:. Sadler's Wells turned to dance as its main focus. By the 1970s, the historian Sarah Crompton records, the dance programme of Sadler's Wells had diversified considerably. Among the companies appearing there were the
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704:. In the early years of the 20th century the theatre doubled as a cinema, showing films on Sundays, with live shows – described as "cowboy melodramas" – during the week, but it did not prosper. The drama critic of
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Before the 20th century, the term "stage-manager" covered the artistic functions now ascribed to directors as well as the purely technical aspects of staging to which "stage-manager" has subsequently come to be
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surprising and pleasing Performances by Messrs Sigels, lately arrived from Paris". Although his own tastes favoured the dramatic, King catered for the tastes of his audiences, and in particular featured
318:. After an eminent physician tested the water and praised its supposed health-giving properties, Sadler found two more wells nearby. Taking the waters was fashionable at the time – there were popular
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enlarged; each of the entrances is decorated with an elegant iron gate and pallisades a degree of splendor and magnificence ... that do equal honour to the taste and liberality of the Proprietor".
1016:. Most of these productions were commercially recorded and released on LP and CD. After the sponsorship ended, costs outstripped income, and the opera company – though not the theatre – went into
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in his history of the theatre, its founder was called Dick Sadler. Many other sources, from the 18th century onwards, say the same, but others give Sadler the forename Thomas, and according to the
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The proprietors advertised for a new manager in 1700, but the decline continued. In 1711, after its fashionable clients had taken their trade elsewhere, Sadler's Wells was described in
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companies, the theatre is also a producing house, with associated artists and companies who create original works for the theatre. Sadler's Wells maintains an additional base at the
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In accordance with this policy Sadler's Wells has appointed an increasing number of choreographers and other associate artists and has commissioned and produced new work. In 2004
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remarked, "no part of London can be reached with greater facility, as omnibuses, trams, &c, from various directions pass the Angel, not two hundred yards from Sadler's Wells."
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So began one of the most glorious reigns of any London theatre, during which Phelps produced more than 1,600 performances of thirty-one of Shakespeare's plays (the exceptions were
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183:. The present-day theatre is the sixth on the site. Sadler's Wells grew out of a late 17th-century pleasure garden and was opened as a theatre building in the 1680s.
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wrote in February 1914, "Poor wounded old playhouse! Here it stands even now, shabby and disconsolate, its once familiar frontage half hidden with glaring posters".
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series in 1736, the theatre had lost any vestiges of fashionability and was satirised as having an audience consisting of tradesmen and their pretentious wives.
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to improve the standard of dancing in operas and plays at the Old Vic. The three companies Baylis founded developed over the next three decades to become the
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621:, they made little impact. A succession of managements tried unsuccessfully to make the theatre pay; in 1874 it closed, and there were plans to turn it into
625:. The building, by that time in a perilous state of repair, was used as a roller-skating rink and for lectures, boxing and wrestling, until in August 1878
1949:"Valois, Dame Ninette de (real name Edris Stannus; married name Edris Connell) (1898–2001), ballet dancer, choreographer, and founder of the Royal Ballet"
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You've got the National Theatre for drama, English National Opera for opera and I want Sadler's Wells to perform the same function for contemporary dance.
1027:, led a campaign to transform Sadler's Wells into a purpose-built dance theatre. During the two-year rebuilding, Sadler's Wells moved temporarily to the
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had London seasons at Sadler's Wells between 1954 and 1975. From 1959 to 1985 the theatre was the main venue for the annual seasons of the
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between 1844 and 1862. From then until the early 20th century the theatre had mixed fortunes, eventually becoming abandoned and derelict.
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led to the abandonment of the plan, and Sadler's Wells declined into dereliction. It closed in 1915 and did not reopen after the war.
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The other quarter was held by a goldsmith called Arnold, who appears to have taken no direct part in the running of the theatre.
797:. Acquiring Sadler's Wells enabled Baylis to set up a dance company, something she had wished to do since 1926 when she engaged
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A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers & Other Stage Personnel in London, 1660–1800
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941:(1972). In 1983 a new opera company was established, with its base at Sadler's Wells. With a four-year sponsorship from the
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and musicians. Sadler took as his business partner a violinist, Francis Forcer, who was both dancing-master and composer.
2044:, 12 February 1999, p. 35; and "Debra Craine's dance choice: Birmingham Royal Ballet", The Times, 1 September 2001, p. 122
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hatchet-faced assembly of ruffians to be found in all London". There were several attempts to convert the theatre into a
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opening of 55 feet (16.7 metres) – compared with Sadler's Wells's 30 feet (9.1 m) – was the largest in London.
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After Baylis died in 1937 the Vic-Wells Ballet was led by de Valois and the opera company was under the direction of
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After Phelps's withdrawal in 1862 the theatre presented a variety of shows, but despite appearances by stars such as
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as a musical entertainment. In general the authorities did not enforce the letter of the law with particular rigour.
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Rosoman engaged a regular resident company of actors, and the old Musick-House became a theatre. Rosoman introduced
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Lacking the requisite licence to perform straight drama, the house became known for dancing, performing animals,
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The Coliseum's seating capacity (2,500) was more than 40 per cent greater than that of Sadler's Wells, and the
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In the early years of the 18th century the reputation of the spa declined. By the time Hogarth produced his
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1411:"Victorian London – Publications – History – Views of the Pleasure Gardens of London, by H.A.Rogers, 1896"
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Carey, p. 105; Craine and Mackrell, p. 380; Jarman, p. 3; Rice, p. 67; Thomson, p. 128; and Urban, p. 798
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The D'Oyly Carte Opera Company in Gilbert and Sullivan Operas: A Record of Productions, 1875–1961
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488:, proposed "an Entire new inside" so that "the Building will be a stable one for fifty years to come".
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The tank was 90 feet long, 25 feet wide, and 5 feet deep (approximately 27.5 x 7.5 x 1.5 metres).
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After the opera company moved out, Sadler's Wells hosted operatic productions by, among others,
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partner, more valued for financial than for artistic reasons. She accepted an invitation from
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in the West End, bought the unexpired thirty-three year term of the lease of Sadler's Wells.
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515:, and the following year serious drama came to Sadler's Wells. From 1844 to 1862 the actor
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was performed there in 1764, but Arundell suggests it was not Shakespeare's original, but "
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itself to saying that the house was built at some time after the creation of the adjoining
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Carey, p. 105; Craine and Mackrell, p. 380; Jarman, p. 3; Rice, p. 67; and Urban, p. 798
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The law restricting non-musical drama to the two patent theatres was repealed by the
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and over the next twenty years the opera company gave British premieres of works by
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401:, at that time a genre new to England. According to the current laws, only the two
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The new theatre opened with a gala performance on 6 January 1931 of Shakespeare's
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221:. From the 1930s to the 1980s the theatre was home to 21 London seasons by the
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The only major changes to Phipps's building was the addition by the architect
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914:, who both held residencies there, and visiting ensembles including those of
480:. In 1781 Joseph Grimaldi made his debut, aged two, dancing with his sister.
233:, had its London base at Sadler's Wells; and between the 1950s and 1980s the
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Press advertisement, 1802 – The patron, the Duke of Clarence, is the future
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A well with water from a mineral spring was discovered on Sadler's land in
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The new theatre was designed by the Arts Team division of the architects
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949:, sung in English, in London and on tour. The first season opened with
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2808:. New Haven and London: Yale University Press and English Heritage.
2806:
Survey of London: Volume XLVII: Northern Clerkenwell and Pentonville
286:
Details of the origins of Sadler's Wells are disputed. According to
2001:
Rollins and Witts, p. 2, and Supplements pp. 16–18, 25–29 and 37–39
752:
had run drama and opera companies at her south London theatre, the
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joined Sadler's Wells, "representing the origins and evolution of
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2585:. Vol. 5. Carbondale: Southern Illinois University Press.
902:, and in 1968 the company left Sadler's Wells and moved to the
205:
bought and rebuilt the theatre in 1926. Together with Baylis's
2545:
The Quiet Showman: Sir David Webster and the Royal Opera House
2382:"Activists protest Sadler's Wells Theatre links with Barclays"
319:
237:
staged productions there. Visiting dance troupes included the
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Grade II listed buildings in the London Borough of Islington
1740:"Grimaldi, Joseph (Joe) (1778–1837), actor and pantomimist"
875:
In the 1960s there were plans for a new opera house on the
2849:
Gentleman's Magazine and Historical Chronicle 1784, part 2
2511:(fourteenth ed.). London: Sir Isaac Pitman and Sons.
2581:
Highfill, Philip; Kalman Burnim; Edward Langhans (1973).
2468:
Duet for Two Voices: An Informal Biography of Edward Dent
371:
With prize-fighters, sweetners, and such sort of traders,
2826:
The Cambridge Introduction to English Theatre, 1660–1900
2713:
Georgian Harlots and Whores: Fame, Fashion & Fortune
2526:
Opera for Everybody: The Story of English National Opera
2168:, 19 October 1989, p. 11; and "Romantic renaissance in
19:"Sadler's Wells" redirects here. For the racehorse, see
2770:. Northampton, Massachusetts: Edward Elgar Publishing.
1782:"Phelps, Samuel (1804–1878), actor and theatre manager"
2829:. Cambridge and New York: Cambridge University Press.
1258:
Hembry, p. 99; Law, p. 443; and Pinks and Wood, p. 760
713:
With the support of leading theatre figures including
2681:(ninth ed.). London: Sir Isaac Pitman and Sons.
748:
Since 1914 the theatre proprietor and philanthropist
373:
Informers, thief-takers, deer stealers, and bullies.
2492:(second ed.). Oxford: Oxford University Press.
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Other sources give Sadler the full forename Richard.
973:. Later productions included Gilbert and Sullivan's
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574:Among the leading players in Phelps's company were
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1903:"Baylis, Lilian Mary (1874–1937), theatre manager"
1659:
945:, the New Sadler's Wells Opera company focused on
2660:Ways of the World: A History of the World's Roads
1035:, where it has maintained a presence ever since.
369:As Bullocks and files, housebreakers and padders,
2372:, Sadler's Wells Theatre. Retrieved 11 June 2023
365:Butchers and bailiffs, and such sort of fellows,
306:The first, wooden, Sadler's Wells "Musick-House"
2789:. Hatfield: University of Hertfordshire Press.
2768:The Subjects of Literary and Artistic Copyright
1400:, Sadler's Wells Theatre. Retrieved 9 June 2023
817:tours for the first time. In their absence the
367:Mixed with a vermin train'd up for the gallows,
363:
1528:Oxford Encyclopedia of Theatre and Performance
175:is a London performing arts venue, located in
2896:
1047:Sixth theatre, seen from the south-west, 2005
689:, but the authorities refused to license it.
464:, establishing the theatre as a rival to the
431:In 1763 Rosoman engaged the dancers from the
8:
2755:With four supplements, published 1966–1983.
2694:Pinks, William John; Edward J. Wood (1881).
2564:The English Spa, 1560–1815: A Social History
1062:The opening season included performances by
474:Vineyard Revels, or, The Harlequin Bacchanal
28:
3887:Theatres in the London Borough of Islington
2641:The Methuen Drama Dictionary of the Theatre
2307:, 12 March 1999, p. 35; and "Dance/Opera",
1276:The Concise Oxford Companion to the Theatre
2922:
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2889:
2881:
2241:"NSWO decision 'robs creditors of cash'",
1722:
1720:
1266:
1264:
1181:Sadler's Wells had the advantage over the
34:
27:
2766:Sappa, Cristiana; Enrico Bonadio (2022).
2471:. Cambridge: Cambridge University Press.
2428:. Middletown: Wesleyan University Press.
2155:"News", The Stage, 20 January 1983, p. 31
1947:Haltrecht, pp. 59–60; and Goodwin, Noël.
1776:
1774:
1772:
1770:
1768:
1195:present London seasons at Sadler's Wells.
2425:Samuel Phelps and Sadler's Wells Theatre
1453:Temple, p. 144; and "London, Sept. 13",
1059:applied to the Matcham theatre in 1950.
700:in 1894, aligned to the newly completed
468:in that genre. His shows, with music by
2732:British Music and the French Revolution
2662:. Brunswick: Rutgers University Press.
2486:Craine, Debra; Judith Mackrell (2010).
1953:Oxford Dictionary of National Biography
1907:Oxford Dictionary of National Biography
1786:Oxford Dictionary of National Biography
1744:Oxford Dictionary of National Biography
1734:
1732:
1505:
1503:
1221:
1137:
2749:Rollins, Cyril; R. John Witts (1962).
2447:The Story of Sadler's Wells, 1683–1977
2358:
2356:
2129:, 22 March 1969, p. 18; and "Koanga",
1588:
1586:
1550:
1548:
1318:
1316:
1314:
2450:. Newton Abbot: David & Charles.
1997:
1995:
1385:
1383:
1381:
1379:
1377:
1375:
1373:
1371:
1361:
1359:
958:, followed by Gilbert and Sullivan's
201:The philanthropist and theatre owner
125:Dance, production and receiving house
7:
3794:
2698:(second ed.). London: Herbert.
2028:Craine, Debra, and Judith Mackrell.
1680:participating institution membership
1227:
1225:
478:The Whim-Wham, or, Harlequin Captive
361:described the clientele in 1699 as:
3827:Ballet venues in the United Kingdom
2566:. London: London University Press.
2040:; Craine Debra, "Go for the burn",
1468:Weekly Journal or British Gazetteer
1270:Hartnoll, Phyllis and Peter Found.
864:and others. Britten's ensemble the
670:capacity. The theatrical newspaper
2624:. London: English National Opera.
1576:, 6 March 1765, p. 7; and "News",
225:; from the 1950s to the 1970s the
14:
2734:. Newcastle: Cambridge Scholars.
2622:A History of Sadler's Wells Opera
1530:, Oxford University Press, 2005
912:London Contemporary Dance Theatre
821:took the theatre for a season of
251:London Contemporary Dance Theatre
3793:
3782:
3781:
2279:English Heritage listing details
2036:, Oxford University Press, 2010
1955:, Oxford University Press, 2011
1909:, Oxford University Press, 2011
1788:, Oxford University Press, 2015
1278:, Oxford University Press, 2003
2269:, Aedas. Retrieved 11 June 2023
1249:Lay, p. 101; and Rendell, p. 26
1023:In 1994 a new chief executive,
590:; Phelps starred in roles from
3862:Music venues completed in 1998
3822:1683 establishments in England
2489:The Oxford Dictionary of Dance
2258:, 22 October 1998, p. 23; and
2034:The Oxford Dictionary of Dance
1:
2071:Arundell, pp. 250 and 312–313
2062:Arundell, pp. 237 and 312–313
1127:Notes, references and sources
279:
145:
3651:Theatre Royal Stratford East
2543:Haltrecht, Montague (1975).
1959:UK public library membership
1913:UK public library membership
1792:UK public library membership
1750:UK public library membership
349:1700 newspaper advertisement
3872:Pleasure gardens in England
2990:Delfont Mackintosh Theatres
2785:Schafer, Elizabeth (2007).
2715:. Barnsley: Pen and Sword.
2528:. London: Faber and Faber.
2142:Davies, Margaret. "Opera",
2125:"Cologne Opera for Wells",
1804:Allen, pp. 102, 119 and 202
1513:, 12 June 1847, pp. 182–183
629:, who had been running the
3903:
3882:Theatres completed in 1998
3366:ChickenShed's Amphitheatre
2787:Lilian Baylis: A Biography
2696:The History of Clerkenwell
2677:Parker, John, ed. (1939).
2422:Allen, Shirley S. (1971).
2409:. London: B. T. Batsford.
2337:, 7 December 2007, p. 131
2254:"Teamwork designs venue",
2010:Parker, pp. 2000 and 2004.
1853:, 21 September 1879, p. 6
1326:, 5 June 1847, pp. 172–174
1091:Glyndebourne Touring Opera
1020:with heavy debts in 1989.
819:D'Oyly Carte Opera Company
472:, included such pieces as
223:D'Oyly Carte Opera Company
18:
16:Theatre in London, England
3777:
3676:Upstairs at The Gatehouse
2753:. London: Michael Joseph.
2643:. London: Methuen Drama.
2507:Gaye, Freda, ed. (1967).
2403:Addison, William (1951).
2281:. Retrieved 28 April 2007
2265:20 September 2022 at the
1667:Oxford English Dictionary
1457:, 13 September 1712, p. 2
943:National Westminster Bank
657:1910 photograph, showing
637:Fourth theatre: 1879–1915
443:Second theatre: 1765–1802
433:Theatre Royal, Drury Lane
314:, near the boundary with
157:
45:
33:
3857:Grade II listed theatres
3318:Menier Chocolate Factory
3086:Nederlander Organization
2679:Who's Who in the Theatre
2620:Jarman, Richard (1974).
2562:Hembry, Phyllis (1990).
2509:Who's Who in the Theatre
2311:, 6 October 2001, p. 253
2303:"Welsh National Opera",
2294:, 11 January 1998, p. 18
2260:"Sadler's Wells Theatre"
1762:Sappa and Bonadio, p. 30
1272:"Sadler's Wells Theatre"
1100:In 2004 a new director,
733:Fifth theatre: 1931–1998
661:'s portico added in 1894
492:Third theatre: 1802–1879
466:Theatre Royal, Haymarket
194:and others presented by
137:200 Lilian Baylis Studio
3867:Opera houses in England
3847:Dance venues in England
3832:Birmingham Royal Ballet
3611:Rosemary Branch Theatre
2823:Thomson, Peter (2006).
2603:The Penguin Opera Guide
2524:Gilbert, Susie (2009).
2324:, 17 April 2004, p. 339
2208:(Count of Luxembourg);
2174:Illustrated London News
2144:Illustrated London News
2038:(subscription required)
1938:, 8 January 1931, p. 14
1672:Oxford University Press
1532:(subscription required)
1280:(subscription required)
955:The Count of Luxembourg
928:Dance Theatre of Harlem
924:Nederlands Dans Theater
247:Dance Theatre of Harlem
2711:Rendell, Mike (2022).
2639:Law, Jonathan (2013).
2350:, 6 March 2010, p. 289
2333:"Opera & Ballet",
2164:"For Sale Privately",
1980:Gilbert, pp. 44 and 57
1934:"New Sadler's Wells",
1849:"New Sadler's Wells",
1640:, 23 August 1773, p. 5
1048:
811:English National Opera
745:
662:
650:
536:
504:
452:
394:
393:Sadler's Wells in 1745
375:
350:
307:
219:English National Opera
173:Sadler's Wells Theatre
88:51.529444°N 0.106111°W
29:Sadler's Wells Theatre
21:Sadler's Wells (horse)
3709:Bolton's Theatre Club
3386:Battersea Arts Centre
2176:, 1 April 1988, p. 70
2116:Arundell, pp. 313–315
1831:Arundell, pp. 164–166
1714:, 17 April 1802, p. 1
1625:The Morning Chronicle
1580:, 12 April 1765, p. 3
1542:Thompson, pp. 129–130
1470:, 18 April 1724, p. 4
1396:10 March 2023 at the
1095:English Touring Opera
1087:Polish National Opera
1068:Tanztheater Wuppertal
1046:
772:as senior partner of
740:
665:Bateman commissioned
656:
644:
526:
499:
450:
392:
355:Four Times of the Day
348:
305:
135:1,500 on three levels
40:Sadler's Wells, 2015
2851:. London: D. Henry.
2465:Carey, Hugh (1979).
2245:, 2 March 1989, p. 1
2133:, 18 May 1972, p. 11
2080:Gilbert, pp. 176–177
2053:Gilbert, pp. 592–595
1578:Lloyd's Evening Post
1574:Lloyd's Evening Post
1511:The Theatrical Times
1324:The Theatrical Times
1083:Welsh National Opera
1039:Sixth theatre: 1998–
889:Sadler's Wells Opera
870:Handel Opera Society
823:Gilbert and Sullivan
768:, who had succeeded
623:baths and washhouses
568:Troilus and Cressida
424:work castrated into
235:Handel Opera Society
93:51.529444; -0.106111
3729:Greenwich Playhouse
3626:Southwark Playhouse
3581:Queen's, Hornchurch
3576:Pleasance Islington
3250:Shakespeare's Globe
2730:Rice, Paul (2010).
2605:. London: Penguin.
2547:. London: Collins.
2368:1 June 2023 at the
2192:(H.M.S. Pinafore);
1925:Temple, pp. 156–157
1892:Temple, pp. 155–156
1871:Temple, pp. 154–155
1840:Temple, pp. 153–154
1692:Arundell, pp. 54–55
1670:(Online ed.).
1605:, 25 May 1774, p. 1
1522:Kinservik, Matthew
1112:Breakin' Convention
887:, the directors of
883:and his successor,
866:English Opera Group
707:The Daily Chronicle
227:English Opera Group
107:Sadlers Wells Trust
84: /
30:
3837:Contemporary dance
3313:Marylebone Theatre
2911:Theatres in London
2658:Lay, M. G (1999).
2388:, 1 September 2023
2232:(Countess Maritza)
1636:"Sadler's Wells",
1623:"Sadler's Wells",
1601:"Sadler's Wells",
1509:"Sadler's Wells",
1413:. Victorian London
1322:"Sadler's Wells",
1072:William Forsythe's
1049:
746:
719:Arthur Wing Pinero
663:
651:
537:
505:
453:
395:
351:
308:
3809:
3808:
3601:Riverside Studios
3308:Lyric Hammersmith
3240:Royal Opera House
3196:
3195:
2927:ATG Entertainment
2836:978-0-52-183925-9
2815:978-0-30-013937-2
2796:978-1-90-280664-8
2777:978-1-80-088176-1
2741:978-1-44-382110-0
2722:978-1-52-679102-3
2669:978-0-81-351758-2
2650:978-1-40-813147-3
2631:978-0-95-036810-8
2612:978-0-14-051385-1
2573:978-0-48-511374-7
2554:978-0-00-211163-8
2535:978-0-571-22493-7
2499:978-0-19-956344-9
2478:978-0-52-122312-6
2457:978-0-71-537620-1
2386:Islington Gazette
2146:, 1 January 1983.
1957:(subscription or
1911:(subscription or
1883:in Temple, p. 155
1790:(subscription or
1748:(subscription or
1678:(Subscription or
1638:Public Advertiser
1603:Public Advertiser
1524:"patent theatres"
1389:Crompton, Sarah.
1344:Arundell, pp. 2–3
1102:Alistair Spalding
1085:(1999 and 2001),
1075:Ballett Frankfurt
799:Ninette de Valois
513:Theatres Act 1843
451:Rosoman's theatre
170:
169:
3894:
3877:The Royal Ballet
3797:
3796:
3785:
3784:
3759:Stratford Circus
3531:Leicester Square
3511:Intimate Theatre
3496:Hen and Chickens
3361:Alexandra Palace
3323:The Other Palace
3293:Donmar Warehouse
3076:London Palladium
2923:
2905:
2898:
2891:
2882:
2877:
2876:
2874:Official website
2860:
2840:
2819:
2804:Temple, Philip.
2800:
2781:
2754:
2745:
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2707:
2690:
2673:
2654:
2635:
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2594:
2577:
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2482:
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2442:Arundell, Dennis
2437:
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2295:
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2276:
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2252:
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2239:
2233:
2224:(Merry Widow );
2200:(Bitter Sweet);
2183:
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2147:
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2060:
2054:
2051:
2045:
2039:
2026:
2020:
2019:Haltrecht, p. 71
2017:
2011:
2008:
2002:
1999:
1990:
1989:Arundell, p. 209
1987:
1981:
1978:
1972:
1969:
1963:
1962:
1945:
1939:
1932:
1926:
1923:
1917:
1916:
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1872:
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1847:
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1823:
1822:Arundell, p. 164
1820:
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1628:
1627:3 May 1773, p. 1
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1142:
1057:Grade II listing
970:Countess Maritza
920:Merce Cunningham
834:Second World War
807:National Theatre
791:Ralph Richardson
789:as Malvolio and
765:
761:
649:'s theatre, 1879
556:Titus Andronicus
403:patent companies
292:Survey of London
281:
243:Merce Cunningham
231:Benjamin Britten
215:National Theatre
166:
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3842:Dance in London
3812:
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3773:
3690:
3466:Erith Playhouse
3353:
3347:
3254:
3215:London Coliseum
3210:Barbican Centre
3202:
3192:
3151:
3103:
3080:
3037:
3028:Victoria Palace
3018:Prince of Wales
2984:
2940:Apollo Victoria
2912:
2909:
2872:
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2845:Urban, Silvanus
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2370:Wayback Machine
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2267:Wayback Machine
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2098:Gilbert, p. 213
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2089:Gilbert, p. 205
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1780:Wearing, J. P.
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1710:Advertisement,
1709:
1705:
1701:Arundell, p. 64
1700:
1696:
1691:
1687:
1677:
1661:"stage manager"
1658:
1657:
1653:
1649:Arundell, p. 34
1648:
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1614:Arundell, p. 29
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1592:Arundell, p. 27
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1563:Arundell, p. 24
1562:
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1554:Arundell, p. 23
1553:
1546:
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1537:
1531:
1521:
1517:
1508:
1501:
1496:
1492:
1488:Arundell, p. 15
1487:
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1479:Arundell, p. 11
1478:
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1308:Thomson, p. 128
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1041:
1029:Peacock Theatre
1003:The Merry Widow
997:La belle Hélène
976:H.M.S. Pinafore
939:Camden Festival
937:(1969) and the
904:London Coliseum
774:Matcham and Co.
763:
759:
735:
727:First World War
702:Rosebery Avenue
639:
600:Charles Dickens
572:
502:King William IV
494:
445:
416:version of the
372:
370:
368:
366:
288:Dennis Arundell
284:
278:First theatre:
275:
263:Peacock Theatre
245:companies, the
177:Rosebery Avenue
158:
136:
116:Grade II listed
92:
90:
86:
83:
78:
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71:
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53:Rosebery Avenue
41:
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3636:Studio Theatre
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3109:Nimax Theatres
3105:
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766:M. Chancellor
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750:Lilian Baylis
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615:Hermann Vezin
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542:J. P. Wearing
535:
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530:as Wolsey in
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420:-Shakespeare-
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162:.sadlerswells
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97:
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63:
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52:
48:
44:
37:
32:
26:
22:
3799:
3786:
3749:New Players'
3621:South London
3591:RADA Studios
3586:The Questors
3551:Old Red Lion
3536:Little Angel
3411:The Broadway
3381:Barons Court
3260:Off West End
3244:
2848:
2825:
2805:
2786:
2767:
2750:
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2712:
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2659:
2640:
2621:
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2582:
2563:
2544:
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2508:
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2406:English Spas
2405:
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2316:
2308:
2304:
2299:
2291:
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2255:
2250:
2242:
2237:
2181:
2173:
2170:Bitter Sweet
2169:
2165:
2160:
2151:
2143:
2138:
2130:
2126:
2121:
2112:
2103:
2094:
2085:
2076:
2067:
2058:
2049:
2041:
2033:
2024:
2015:
2006:
1985:
1976:
1967:
1952:
1943:
1935:
1930:
1921:
1906:
1897:
1888:
1880:
1876:
1867:
1858:
1850:
1845:
1836:
1827:
1818:
1809:
1800:
1785:
1758:
1743:
1726:Allen, p. 77
1711:
1706:
1697:
1688:
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1637:
1632:
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1610:
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1510:
1493:
1484:
1475:
1467:
1462:
1454:
1449:
1440:
1432:
1427:
1415:. Retrieved
1405:
1349:
1340:
1331:
1323:
1304:
1295:
1286:
1275:
1254:
1245:
1236:
1200:
1190:
1177:
1168:
1158:
1149:
1140:
1109:
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1061:
1050:
1022:
1013:Bitter Sweet
1011:
1001:
995:
986:
980:
974:
968:
959:
953:
932:
897:
874:
845:Peter Grimes
843:
827:
815:
803:Royal Ballet
787:John Gielgud
780:
778:
747:
715:Bernard Shaw
712:
705:
694:Bertie Crewe
691:
683:
678:
671:
667:C. J. Phipps
664:
659:Bertie Crewe
647:C. J. Phipps
645:Interior of
608:
604:John Forster
584:Fanny Cooper
573:
566:
560:
554:
548:
538:
531:
510:
506:
482:
477:
473:
458:
454:
430:
407:
396:
384:
378:
376:
364:
352:
340:
336:rope-dancers
309:
285:
259:
211:Royal Ballet
200:
185:
172:
171:
25:
3769:Westminster
3719:Cock Tavern
3566:Pentameters
3556:Orange Tree
3526:King's Head
3501:Hoxton Hall
3333:Royal Court
3225:The Old Vic
3201:Other major
3183:Shaftesbury
3178:St Martin's
3156:Independent
3043:LW Theatres
3003:Noël Coward
2935:Ambassadors
2363:"Our Story"
1712:True Briton
1455:Flying Post
1163:restricted.
1093:(2007) and
1079:Royal Opera
1064:Pina Bausch
1018:liquidation
1008:Noël Coward
993:Offenbach's
916:Alvin Ailey
611:J. L. Toole
409:The Tempest
316:Clerkenwell
239:Alvin Ailey
192:Shakespeare
112:Designation
91: /
66:Coordinates
3816:Categories
3681:White Bear
3646:Theatre503
3476:Finborough
3431:Canal Café
3396:Bloomsbury
3352:Fringe and
3147:Vaudeville
3142:@sohoplace
3061:Drury Lane
2970:Piccadilly
2704:1107606811
2591:1000937503
2434:1036847847
1682:required.)
1216:References
1206:proscenium
1025:Ian Albery
1000:, Lehár's
961:The Mikado
877:South Bank
858:Stravinsky
795:Toby Belch
687:music hall
562:Richard II
533:Henry VIII
462:pantomimes
76:51°31′46″N
3764:Warehouse
3631:The Space
3571:The Place
3541:Millfield
3486:Greenwich
3461:Courtyard
3441:Churchill
3426:Brookside
3371:artsdepot
3343:Young Vic
3298:Hampstead
3188:Trafalgar
3173:Haymarket
3168:Criterion
3056:Cambridge
3033:Wyndham's
2975:Playhouse
2761:504581419
2687:473894893
2348:The Times
2346:"Opera",
2335:The Times
2322:The Times
2320:"Opera",
2309:The Times
2305:The Times
2292:The Times
2290:"Opera",
2256:The Stage
2243:The Stage
2230:173233099
2166:The Stage
2131:The Times
2127:The Times
2042:The Times
1961:required)
1936:The Stage
1915:required)
1794:required)
1752:required)
1431:Highfill
1391:"History"
1097:(2010).
982:Ruddigore
832:. In the
785:starring
696:of a new
426:an opera"
414:Garrick's
399:burlettas
328:Tunbridge
312:Islington
299:in 1614.
297:New River
282:1683–1765
188:pantomime
181:Islington
79:0°06′22″W
3788:Category
3714:Cochrane
3686:Wilton's
3596:Richmond
3471:Etcetera
3416:Broadway
3401:Bob Hope
3376:Ashcroft
3354:suburban
3230:Open Air
3220:National
3203:theatres
3099:Dominion
3023:Sondheim
2918:West End
2847:(1784).
2444:(1978).
2366:Archived
2263:Archived
2222:20442857
2214:17428613
2206:29663228
2198:32832811
2190:27980350
1572:"News",
1466:"News",
1435:, p. 224
1394:Archived
1089:(2004),
1081:(1999),
1033:West End
966:Kálmán's
947:operetta
926:and the
596:Falstaff
550:Henry VI
544:writes:
359:Ned Ward
267:West End
253:and the
131:Capacity
55:London,
3800:Commons
3754:Saville
3744:New End
3739:Mermaid
3724:Empress
3666:Unicorn
3661:Turbine
3456:Coronet
3451:Compass
3446:Cockpit
3436:Chelsea
3268:Almeida
3235:Peacock
3127:Garrick
3122:Duchess
3094:Aldwych
3051:Adelphi
3008:Novello
2998:Gielgud
2965:Phoenix
2950:Fortune
2857:7607917
2517:5997224
2396:Sources
1851:The Era
1746:, 2014
1116:hip hop
1031:in the
951:Lehar's
854:Janáček
754:Old Vic
698:portico
679:The Era
673:The Era
422:Purcell
273:History
265:in the
207:Old Vic
153:Website
60:England
50:Address
3734:Landor
3696:Former
3641:Tabard
3278:Bridge
3273:Arcola
3137:Palace
3117:Apollo
2960:Lyceum
2855:
2833:
2812:
2793:
2774:
2759:
2738:
2719:
2702:
2685:
2666:
2647:
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2432:
2415:422941
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2220:
2212:
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2196:
2188:
1881:Quoted
1433:et al.
1417:2 June
893:Wagner
805:, the
764:
760:
744:, 1924
592:Hamlet
565:, and
476:, and
437:Joseph
418:Dryden
213:, the
142:Opened
3671:Union
3656:Troxy
3132:Lyric
2980:Savoy
1676:
1132:Notes
900:cycle
862:Weill
850:Verdi
332:Epsom
104:Owner
3616:Shaw
3561:Park
3481:Gate
3391:Beck
3338:Soho
3303:Kiln
3283:Bush
3163:Arts
2853:OCLC
2831:ISBN
2810:ISBN
2791:ISBN
2772:ISBN
2757:OCLC
2736:ISBN
2717:ISBN
2700:OCLC
2683:OCLC
2664:ISBN
2645:ISBN
2626:ISBN
2607:ISBN
2587:OCLC
2568:ISBN
2549:ISBN
2530:ISBN
2513:OCLC
2494:ISBN
2473:ISBN
2452:ISBN
2430:OCLC
2411:OCLC
2226:OCLC
2218:OCLC
2210:OCLC
2202:OCLC
2194:OCLC
2186:OCLC
1419:2007
1053:RHWL
1006:and
985:and
964:and
918:and
910:and
898:Ring
809:and
721:and
602:and
586:and
330:and
324:Bath
320:spas
241:and
217:and
164:.com
148:1683
122:Type
3506:ICA
2172:",
1066:'s
1010:'s
930:.
895:'s
793:as
594:to
322:at
269:.
160:www
57:EC1
3818::
2384:,
2355:^
2032:,
1994:^
1951:,
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1767:^
1742:,
1731:^
1719:^
1664:.
1585:^
1547:^
1526:,
1502:^
1370:^
1358:^
1313:^
1274:,
1263:^
1224:^
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872:.
860:,
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813:.
776:.
762:G.
758:F.
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280:c.
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