1806 Olympic Pavilion | |
Address | Wych Street, Drury Lane Westminster, London |
---|---|
Coordinates | 51°30′47″N0°07′07″W / 51.513056°N 0.118611°W |
Designation | Demolished |
Type | Theatre and opera house |
Capacity | 889 (1860s) 2,150 (1889) |
Current use | Site of Kingsway |
Construction | |
Opened | 1806 |
Closed | 1899 |
Rebuilt | 1870 C. J. Phipps 1890 W. G. R. Sprague and Bertie Crewe |
The Olympic Theatre, sometimes known as the Royal Olympic Theatre, was a 19th-century London theatre, opened in 1806 and located at the junction of Drury Lane, Wych Street and Newcastle Street. The theatre specialised in comedies throughout much of its existence. Along with three other Victorian theatres (Opera Comique, Globe and Gaiety), [1] the Olympic was eventually demolished in 1904 to make way for the development of the Aldwych. Newcastle and Wych streets also vanished.
The first Olympic theatre was built in 1806 on the site of Drury House (later Craven House), [2] for the impresario Philip Astley, a retired cavalry officer. The original name of the house was the Olympic Pavilion. It was said to be built from the timbers of the French warship Ville de Paris . It opened on 1 December 1806 [3] as 'a house of public exhibition of horsemanship and droll.' [4] In 1813, Astley sold the theatre to Robert William Elliston, who refurbished the interior and renamed it the Little Drury Lane, reflecting its proximity to the large Drury Lane Theatre nearby. Elliston had the theatre substantially rebuilt and reopened it with William Thomas Moncrieff's comedy Rochester – or, King Charles the Second's Merry Days. John Scott purchased the playhouse at Ellison's bankruptcy auction in 1826 and gave the building gas lighting. [3]
In 1830, Lucia Elizabeth Vestris (1787–1856) leased the house, [5] becoming the first female actor-manager in the history of London theatre. She had already made her fortune as a singer, a dancer (of some repute) and an actor. Together with her business partner, Maria Foote, and later with her husband, the actor Charles James Mathews, who joined the company in 1835, Madame Vestris initiated several theatrical innovations, such as the use of historically correct costumes and more elaborate scenery, including a box set with ceiling, which she is said to have introduced in Britain. [4] Her stewardship began with a programme of four pieces including Olympic Revels, [6] and under her management the theatre continued to feature light comedies including music, which were legally styled burlettas and whose licence she had been granted by the Lord Chamberlain. [7] Many were written by J. R. Planché and Charles Dance, featuring Vestris in breeches roles, and the popular comedian of the day, John Liston. The plays often burlesqued classical themes: My Great Aunt – or, Relations and Friends; The Loan of a Lover; The Court Beauties; The Garrick Fever; Faint Heart Never Won Fair Lady; Olympic Revels – or Prometheus and Pandora; Olympic Devils – or Orpheus and Eurydice; The Paphian Bower – or Venus and Adonis; Telemachus – or The Island of Calypso. [8] While Vestris' licence only allowed the performance of extravaganzas and burlesques, the quality of the performance was paramount, with much time spent on rehearsal and selection of the company. [6]
The 1840s were a period of decline for the theatre. Madame Vestris gave her last performance in 1839 and left to join the Theatre Royal, Covent Garden, [6] and the house writers, E. L. Blanchard, John Courtney, Thomas Egerton Wilks, and I. P. Wooler, have not met with posthumous fame. [8]
The 1850s were a more successful decade for the theatre. Dion Boucicault's Broken Vow was staged in 1851, Planché began writing for the Olympic again, and John Maddison Morton also wrote many plays for the house. Other playwrights featured at the Olympic in the 1850s were Robert B. Brough, Francis Burnand, John Stirling Coyne, John Oxenford, Mrs Alfred Phillips, John Palgrave Simpson, Tom Taylor, and Montagu Williams. [8] The theatre was managed by the actor-manager Alfred Wigan from 1853 to 1857. The staples of the repertoire in the 1850s and 1860s continued to be comedies, many featuring the great actor and comedian Frederick Robson. [9] A notable exception was Tom Taylor's celebrated 1863 social melodrama, The Ticket-of-Leave Man , based on a French dramatic tale, Le Retour de Melun. It starred Henry Neville, who went on to play in over 2000 performances of the work. Nellie Farren spent two productive years at the theatre early in her career.
In 1863, the theatre closed for extensive alterations and improvements by C. J. Phipps, who was later the architect of the Savoy Theatre (1881), the Lyric Theatre, Shaftesbury Avenue (1888), Her Majesty's Theatre (1897) and many others. The capacity of the theatre was at this time 889. The Olympic reopened with performances of The Girl I Left Behind Me and The Hidden Hand and My Wife's Bonnet in November 1864. Burnand's contributions in the 1860s included Fair Rosamond – The Maze, The Maid, and The Monarch; Deerfoot; Robin Hood – or, The Forrester's Fate!; Cupid and Psyche – or, Beautiful as a Butterfly; Acis and Galatæa – or, The Nimble Nymph and the Terrible Troglodyte! and King of the Merrows – or, The Prince and the Piper. Morton's plays included Ticklish Times; A Husband to Order; A Regular Fix!; and Gotobed Tom!. In 1870, W. S. Gilbert became another of the theatre's notable authors, producing The Princess . [8] Later Gilbert plays at the Olympic were The Ne'er-do-Weel (1878) and Gretchen (1879).
Henry Neville managed the theatre from 1873 to 1879. [10] The 1870s saw the staging of Wilkie Collins's dramatisations of his own novels, The Woman in White and The Moonstone ; and Charles Collette in his own one-act musical farce with the striking title, Cryptoconchoidsyphonostomata, or While it's to be Had! (1875), [11] which had opened with Trial by Jury earlier that year at the Royalty Theatre. The Olympic of this period was described by Edward Walford, in his book Old and New London (1897), as having shown 'principally melodramas of the superior kind.' From time to time, operas and operettas were also presented, including Quite an Adventure, and Claude Duval or Love and Larceny by Edward Solomon and Henry Pottinger Stephens, [12] and the rival production of H.M.S. Pinafore mounted in 1879 by Richard D'Oyly Carte's erstwhile partners. [13]
The building was demolished in 1889 and a new, much enlarged theatre was constructed in 1890 by W. G. R. Sprague and Bertie Crewe, whose surviving theatres in London include the Gielgud, Wyndham's Theatre, the Noël Coward Theatre, the Aldwych Theatre, the Novello Theatre and the Shaftesbury Theatre. The new theatre, with a capacity of 2,150, was large enough to accommodate full-scale opera, including the British première of Tchaikovsky's Eugene Onegin , conducted by Henry Wood with a cast that included Charles Manners, in 1892. [14]
The last manager of the Olympic was Sir Ben Greet, later manager of the Old Vic. Among his presentations were Hamlet and Macbeth . [15] The film Major Wilson's Last Stand was shown in 1900. [16] The theatre closed permanently in 1900 and was demolished in 1904. [4]
Lucia Elizabeth Vestris was a British actress and a contralto opera singer, appearing in works by Mozart and Rossini, among others. While popular in her time, she was more notable as a theatre producer and manager. After accumulating a fortune from her performances, she leased the Olympic Theatre in London and produced a series of burlesques and extravaganzas, especially popular works by James Planché, for which the house became famous. She also produced his work at other theatres she managed.
John Brougham was an Irish and American actor, dramatist, poet, theatre manager, and author. As an actor and dramatist he had most of his career in the United States, where he was celebrated for his portrayals of comic Irish characters.
Robert William Elliston was an English actor and theatre manager.
The Opera Comique was a 19th-century theatre constructed in Westminster, London, located between Wych Street, Holywell Street and the Strand. It opened in 1870 and was demolished in 1902, to make way for the construction of the Aldwych and Kingsway.
The Theatre Royal, Drury Lane, commonly known as Drury Lane, is a West End theatre and Grade I listed building in Covent Garden, London, England. The building faces Catherine Street and backs onto Drury Lane. The present building, opened in 1812, is the most recent of four theatres that stood at the location since 1663, making it the oldest theatre site in London still in use. According to the author Peter Thomson, for its first two centuries, Drury Lane could "reasonably have claimed to be London's leading theatre". For most of that time, it was one of a handful of patent theatres, granted monopoly rights to the production of "legitimate" drama in London.
The Lyceum Theatre is a West End theatre located in the City of Westminster, on Wellington Street, just off the Strand in central London. It has a seating capacity of 2,100. The origins of the theatre date to 1765. Managed by Samuel Arnold, from 1794 to 1809 the building hosted a variety of entertainments including a circus produced by Philip Astley, a chapel, and the first London exhibition of waxworks by Madame Tussauds. From 1816 to 1830, it served as The English Opera House. After a fire, the house was rebuilt and reopened on 14 July 1834 to a design by Samuel Beazley. The building is unique in that it has a balcony overhanging the dress circle. It was built by the partnership of Peto & Grissell. The theatre then played opera, adaptations of Charles Dickens novels and James Planché's "fairy extravaganzas", among other works.
The Royalty Theatre was a small London theatre situated at 73 Dean Street, Soho. Established by the actress Frances Maria Kelly in 1840, it opened as Miss Kelly's Theatre and Dramatic School and finally closed to the public in 1938. The architect was Samuel Beazley. The theatre's opening was ill-fated, and it was little used for a decade. It changed its name twice and was used by an opera company, amateur drama companies and for French pieces.
The Royal Strand Theatre was located in the Strand in the City of Westminster. The theatre was built on the site of a panorama in 1832, and in 1882 was rebuilt by the prolific theatre architect Charles J. Phipps. It was demolished in 1905 to make way for Aldwych tube station.
Victorian burlesque, sometimes known as travesty or extravaganza, is a genre of theatrical entertainment that was popular in Victorian England and in the New York theatre of the mid-19th century. It is a form of parody in which a well-known opera or piece of classical theatre or ballet is adapted into a broad comic play, usually a musical play, usually risqué in style, mocking the theatrical and musical conventions and styles of the original work, and often quoting or pastiching text or music from the original work. Victorian burlesque is one of several forms of burlesque.
Wych Street was in London where King, Melbourne and Australia Houses now stand on Aldwych. It ran west from the church of St Clement Danes on the Strand to meet the southern end of Drury Lane. It was demolished by the London County Council in around 1901, as part of redevelopment bisected by new street Aldwych, the east of which mimics its course, in a curved way so taking up land buildings stood on, and these works created Kingsway.
The Globe was a Victorian theatre built in 1868 and demolished in 1902. It was the third of five London theatres to bear the name, following Shakespeare’s Bankside house, which closed in 1642, and the former Rotunda Theatre in Blackfriars Road, which for a few years from 1833 was renamed the Globe. The new theatre was also known at various times as the Royal Globe Theatre or Globe Theatre Royal. Its repertoire consisted mainly of comedies and musical shows.
Ellen "Nellie" Farren was an English actress and singer known for her roles as the "principal boy" in musical burlesques at the Gaiety Theatre in London. For a quarter of a century there, she was "the best-known star of London burlesque".
Martha Cranmer Oliver, also known as Pattie Oliver or M. Oliver, was an English actress and theatre manager.
London Assurance is a five-act comedy co-authored by Dion Boucicault and John Brougham. While the play was collaboratively written by both playwrights, after the play's initial premiere Broughman, who originated the role of Dazzle, relinquished his authorship rights to the work in a lawsuit settlement and left the production. It was the second play that Boucicault wrote but his first to be produced. Its first production was by Charles Matthews and Madame Vestris's company and ran from 4 March 1841 at the Theatre Royal, Covent Garden. It was Boucicault's first major success.
William Lugg was an English actor and singer of the late Victorian and Edwardian eras. He had a long stage career beginning with roles in several Gilbert and Sullivan operas and continuing for over four decades in drama, comedy and musical theatre. Later in his career, he appeared in nine silent films in the early years of British cinema.
Alfred Sydney Wigan was an English actor-manager who took part in the first Royal Command Performance before Queen Victoria on 28 December 1848.
Robert Keeley was an English actor-manager, comedian and female impersonator of the nineteenth century. In 1823 he originated the role of 'Fritz' in Presumption; or, the Fate of Frankenstein, the first known stage adaptation of Mary Shelley's novel Frankenstein.
Harriet Siddons, sometimes known as Mrs Henry Siddons, was a Scottish actress and theatre manager.
Robert Roxby was an English actor and stage manager.
Samuel Thomas Russell was an English actor and stage manager. He appeared many times at Drury Lane and at the Haymarket. His most famous role was Jerry Sneak in The Mayor of Garratt.