page_title: Palace Theatre, London
section_title: Early years
hierarchical_section_title: Palace Theatre, London / History / Early years
caption_attribution_description: en:Souvenir programme for the first night of Arthur Sullivan's Ivanhoe (1891)
context_page_description: The Palace Theatre is a West End theatre in the City of Westminster in London. Its red-brick facade dominates the west side of Cambridge Circus behind a small plaza near the intersection of Shaftesbury Avenue and Charing Cross Road. The Palace Theatre seats 1,400.
  Richard D'Oyly Carte, producer of the Gilbert and Sullivan operas, commissioned the theatre in the late 1880s. It was designed by Thomas Edward Collcutt and intended to be a home of English grand opera. The theatre opened as the Royal English Opera House in January 1891 with a lavish production of Arthur Sullivan's opera Ivanhoe. Although this ran for 160 performances, followed briefly by André Messager's La Basoche, Carte had no other works ready to fill the theatre. He leased it to Sarah Bernhardt for a season and sold the opera house within a year at a loss. It was then converted into a grand music hall and renamed the Palace Theatre of Varieties, managed successfully first by Sir Augustus Harris and then by Charles Morton. In 1897, the theatre began to screen films as part of its programme of entertainment.
context_section_description: Commissioned by impresario Richard D'Oyly Carte in the late 1880s, the theatre was designed by Thomas Edward Collcutt. Carte intended it to be the home of English grand opera, much as his Savoy Theatre had been built as a home for English light opera, beginning with the Gilbert and Sullivan series. The foundation stone, laid by his wife Helen in 1888, can still be seen on the façade of the theatre, almost at ground level to the right of the entrance. The theatre's design was considered to be novel. The upper levels are supported by heavy steel cantilevers built into the back walls, removing the need for supporting pillars that impede the view of the stage. The tiers, corridors, staircases, landings are all constructed of concrete to reduce the risk and damage that might be done by fire.
  The theatre opened as the Royal English Opera House in January 1891 with Arthur Sullivan's Ivanhoe. No expense was spared to make the production a success, including a double cast and "every imaginable effect of scenic splendour". It ran for 160 performances, but when Ivanhoe finally closed in July, Carte had no new work to replace it, and the opera house had to close.  One opera is not enough to sustain an opera house venture.  It was, as the critic Herman Klein observed, "the strangest comingling of success and failure ever chronicled in the history of British lyric enterprise!"  Sir Henry Wood, who had been répétiteur for the production, recalled in his autobiography that "[if] Carte had had a repertory of six operas instead of only one, I believe he would have established English opera in London for all time. Towards the end of the run of Ivanhoe I was already preparing the Flying Dutchman with Eugène Oudin in the name part. He would have been superb. However, plans were altered and the Dutchman was shelved."
  The theatre re-opened in November 1891, with André Messager's La Basoche (with David Bispham in his first London stage performance) at first alternating in repertory with Ivanhoe, and then La Basoche alone, closing in January 1892.  Carte had no other works ready, and so he leased the theatre to Sarah Bernhardt for a season, and after months of negotiation he sold the opera house at a loss to the new Palace Theatre Company, headed by Sir Augustus Harris. The architect Walter Emden converted the opera house into a grand and ornate music hall, which was renamed the Palace Theatre of Varieties. Harris's opening programme included a lavish and highly praised ballet, with music by Gaston Serpette; he engaged some of the best variety turns then available, before handing over the day-to-day running of the theatre to Charles Morton, known as the "Father of the Music Halls", whose biographers record:
  Eschewing the heavier kind of variety and theatrical fare ... the new manager found means to present programmes of extraordinary diversity. In addition to engaging many of the leading variety stars ... he also secured many a distinguished singer who had hitherto confined his, or her, services to the concert platform. In due course, Morton added to the Palace programme a series of very beautiful and very striking tableaux vivants, which became the talk of London.
  Denied permission by the London County Council to construct a promenade, which was a popular feature of adult entertainment at the Empire and Alhambra theatres, the Palace countered with its tableaux vivants, which featured apparently nude women (though patrons were reassured that they were actually wearing flesh toned body stockings). In March 1897, the theatre began to screen films from the American Biograph Company as part of its programme of entertainment. These films pioneered the 70 mm format which helped give an exceptionally large and clear image filling the proscenium arch. The performances included early newsreels from around the world, many of them made by film pioneer William Kennedy Laurie Dickson, including film of the Boer War (1900). The Palace continued to show films as part of its variety and musical programmes.
caption: Ivanhoe programme cover from the theatre's first night
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