Haunted London Theatres The Theatre Royal Drury Lane. Catherine Street. WC2. The Man In Grey The Theatre Royal Drury Lane is the oldest working theatre in London, and although the present building dates from 1812, the first theatre on the site was founded in 1663. In keeping with its antiquity, many phantoms are known to lurk in the wings behind its spectacular cream portico. There is the ghost of Joseph Grimaldi (1778-1837), who in the course of a long and distinctive theatrical career almost single-handedly laid the foundations of the pantomime tradition. The character of the white faced innocent rogue that he created became so universally popular that clowns are still known “Joeys” in honour of the father of modern clownery. But the exertions of his craft exacted a terrible toll on Grimaldi’s health and he was overcome by crippling disease that forced him to give up acting. By 1818 he was destitute, and so a benefit performance was organised at the Theatre Royal.

Despite having to be carried onto the stage, and only able to perform seated, Grimaldi had lost none of his magic, and showed himself able to evoke laughter at will. Although he died in 1837, his ghost has returned many times to the Theatre Royal and is renowned for administering a mischievous kick, and actors, cleaners, usherettes have all been on the receiving end of his spectral boot as they go about their everyday duties. One of Grimaldi’s final wishes was that his head should be severed from his body prior to burial. This macabre request was, apparently, carried out, and this might account for the disembodied white face, which has been seen floating around the theatre. Another clown to haunt the Theatre Royal is Dan Leno, who was famed both for his clog dancing routine and his portrayal of a pantomime dame. But at the height of his popularity Dan Leno went mad, and he died in 1904 aged just 43. His ghost, however, refuses to depart from the spotlights and often returns for an encore. Leno suffered badly from incontinence and used to disguise the resultant smell with perfume.

Actors on stage might not see his ghost, but often detect his invisible presence as his passage is marked by the smell of Lavender left hanging in the air. In 1981 during a performance of "The Pirates of Penzance" Nick Bromley, the company manager, was standing in the wings one night watching the performance, when suddenly he was pushed violently from behind. He spun round but found that there was nobody there. The next night an actress was standing in exactly the same spot when somebody tugged on her wig from behind. She too found no-one behind her when she turned to investigate. People passing what was once Leno’s dressing room have also reported hearing a rhythmic drumming sound emanating from the room. This is believed to be the sound of his ghost rehearsing his famous clog dancing routine over and over again. But the theatre’s most famous ghost is that of the so-called “Man in Grey”, the limping apparition of a young man in a powdered wig, white- ruffed shirt, grey riding cloak and three-cornered hat. He invariably appears during the hours of daylight, and seldom digresses from a timeworn route.

He materialises on one side of the upper circle, crosses to the other side where he astonishes witnesses by melting into the wall. In 1939 more than half the cast of "The Dancing Years", who were on stage for a photo call, witnessed his ghost cross the upper circle and disappear in time honoured fashion. He has been seen by members of the audience, by famous actors too numerous to mention, by firemen, theatre managers and numerous other staff at the Theatre Royal. He has sometimes also been seen sitting in the end seat of the fourth row by the central gangway of the upper circle. One morning a cleaner who was new to the theatre and had no knowledge of its ghost, encountered him in this seat at 10am. Thinking he was an actor, she set down her equipment to speak with him, whereupon he vanished. As she looked round for an explanation she noticed the same figure disappearing into the wall to the side of the circle. The identity of the “Man in Grey” remains a mystery, although an intriguing discovery during renovations in the 1870’s may shed some light onto what caused his ghost to haunt the theatre.

As workmen went about their business they broke into a hidden room behind the wall into which the ghost always vanishes. Inside they found the skeleton of a man, surrounded by remnants of grey cloth and dagger protruding from its rib cage. It has been speculated that the remains were those of a young man who came up to London during the time of Queen Anne. Having won the affections an actress at the theatre, he was murdered by her actor lover in a fit of jealous rage and his body was subsequently hidden in the secret recess where it lay undiscovered until the Victorian renovation of the theatre. But whatever the reason behind his haunting the Man in Grey is welcome ghost since it is universally acknowledged that he only ever appears at the beginning of a successful run at the theatre. "The King and I", "South Pacific" and "Oklahoma" are just three of the productions he has endorsed with his presence, and the long running "Miss Saigon" was honoured with an appearance each time there was a change of cast. He is therefore treated with affection rather than fear and his antics, which include pushing performers to positions from where they can deliver their lines to best advantage, have become the stuff of theatrical legend.

A History of a Night at the Theatre Before 1500 Drama in Britain grew of out church services at Easter from the 10th century onwards. By the 14th century mystery cycles of plays based on the Bible were performed outside the church by members of craft guilds in cities such as York and Chester. Each play was staged on pageant wagons that processed through the streets and stopped to perform at pre-arranged sites. In some towns, however, plays were acted in a set space or ‘place’ surrounded by fixed stages or ‘scaffolds’. By the end of medieval times, many towns had specific public theatre spaces. 1500s Detail from a painting of Queen Elizabeth at the Globe, David Scott, 1840. Museum no: S.511-1985 In the late 16th and early 17th centuries all classes of society (apart from royalty) visited the public theatres. Inn yards with enclosed courtyards were often used as performance spaces, and some were converted into permanent playhouses, such as the Red Bull. From 1576 indoor as well as purpose-built outdoor theatres started to appear in London.

The most famous outdoor theatre was the Globe, built in 1599 by The Lord Chamberlain’s Men, whose resident playwright was William Shakespeare. Admission prices ranged from a penny to stand in the yard by the stage to up to sixpence for the most expensive seats. This 19th-century painting shows Elizabeth I watching a play at the Globe Theatre in around 1600. In reality, Elizabeth never visited a public playhouse. When she wished to see a play, the players would perform for her at one of her Royal residences. The more affluent members of the audience sat in the tiers of covered galleries or on the stage itself (for which they paid extra). The area around the thrust stage, called the yard, or pit, was standing room only; and here the 'groundlings' or 'penny stinkards' could stand and watch a play for a penny. 1600s British theatres were closed by Parliament in 1642, and did not officially reopen until King Charles II returned to the throne in 1660. Actresses were introduced to the public stage for the first time, and moveable scenery arranged in perspective.

Audiences went to the new indoor theatres, initially in converted tennis courts, to meet their friends, show off their clothes, flirt and catch up on the latest gossip. For a few extra pennies they could even sit on the stage. 'La Princesse d'Elide' at Versailles, Israel Silvestre, 1664 The most lavish 17th-century productions were not open to the public at all. King James I and his son Charles I both commissioned spectacular private performances called masques which involved music, dance, gorgeous costumes and extraordinary scenery and special effects. They were performed once or twice at one of the Royal palaces and were only seen by members of the court. Such grand court entertainments were fashionable throughout Europe as an expression of princely power. The ballet 'La Princesse d'Elide' was part of a seven-day fete held in May 1664 at the Palace of Versailles. The festivities celebrated the birth of a son to Louise de La Valliere, mistress of the French king, Louis XIV. Versailles had no theatre, so temporary stages were set up around the palace and in the gardens.

Here the stage has been set up in the grounds with the palace itself visible in the background. Such lavish celebrations helped impress foreign dignitaries and reinforced Louis' image as absolute ruler. Louis and his courtiers often took part and Louis' nickname, The Sun King, came from his performance as Apollo, the Greek god of the sun, in the 'Ballet de la Nuit' in 1653. In some ways Louis' whole life was a performance, played out on the stage of Versailles: people even watched him get up in a morning and go to bed. 1700s In order to gain admittance to a popular play in an 18th-century London theatre, it was necessary to arrive at least an hour before the house opened. There were no decorous queues in those days, and no individual numbered seats, so the rush, especially for the cheap bench seats in the pit sometimes resulted in fights and serious injury. Even the more expensive sections were crammed on a good night. In 1763 Garrick banned audience members from sitting on the stage at Drury Lane and other theatres followed suit.

The seating capacity of theatres grew and by 1794 the rebuilt Drury Lane held over 3000. The cheapest seats were in the topmost gallery, known as the ‘gods’, followed by the pit, closest to the stage. More wealthy members of the audience sat in boxes that encircled the pit. Before the introduction of gaslight in the 19th century, theatres were illuminated by candles and oil lamps and the auditorium was as brightly lit as the stage. This fostered an intimacy between actor and audience, but also encouraged people to chat instead of concentrating on the play. Theatrical entertainments were also a feature of fairs such as Bartholomew Fair. Lithograph depicting the riot during 'Aterxes', 1763 18th-century audiences were lively. There are occasional reports of riots among the cheap seats (the 'footman's gallery'). Traditionally people could come for half price toward the end of the evening, to see the short after-pieces that followed the main play. In 1763 the management of Covent Garden Theatre announced on the playbills for 'Aterxes' that only full price tickets would be available.

The response was an organised riot which destroyed the interior of the theatre and forced the reinstitution of the half price concession. 'Artaxerxes' was Arne's most ambitious opera in the Italian style and was first performed in 1762. The plot revolved around the complicated events following the assassination of Xerxes, King of Persia and the revenge of his son, Artaxerxes. The singers are dressed in conventional opera costume of the period. The men wear generalised 'Eastern' rather than archaeologically correct costume, while the female singer wears a version of fashionable 18th-century dress. Arne was more successful writing light operas and incidental music for Shakespeare's plays. He is best remembered as the composer of 'Rule Britannia', which comes from his opera 'Alfred'. Box renter's fan, late 18th century The King's Theatre, Haymarket, originally called the Queen's Theatre after Queen Anne, was built by Sir John Vanburgh. It opened in 1705. Handel's oratorio 'Esther' was sung for the first time in England here. The fan shows how going to the theatre proved your social standing.

'Subscribers' were people who rented boxes for a season at the theatre and could include society types like Mrs Fitzherbert, mistress of the Prince of Wales, and other important people like the Duke of Gloucester. To prove their right to the box they held ivory discs or tokens which (for this important venue) were obtained from a bank in Pall Mall. However, things were about to change however. After the theatre was rebuilt following a fire in 1789, a less fashionable season was introduced, where boxes could be purchased by the general public, and seats in the upper tier cost a guinea per person, making them affordable to many more people. 1800s As theatres increasingly catered for popular taste in the first half of the 19th century, the support of the upper and middle classes declined, although they still attended the opera. Audiences were often noisy and not always well-behaved. If an actor was disliked, insults and/or missiles such as apple cores or bottles were thrown. By the mid 19th century music hall and circus were in favour with working class audiences. Comic and sentimental songs were popular and the audience joined in the choruses.

Acrobats and aerialists provided variation to the night’s programme and music hall was the first place where the flying trapeze was seen. Pierrot shows and Punch and Judy booths entertained at the newly fashionable seaside resorts. Detail from 'Spectacle Gratis' (free show), G.Engelman, early to mid 19th century As opera was popular with the upper and middle classes, being appropriately dressed became a condition of entry. Evening dress was obligatory for those sitting in the boxes and the first gallery, known as the 'dress circle'. In the late 19th century the orchestra stalls replaced the pit and became the fashionable place to see and be seen. Although not compulsory, it was considered bad form not to be smartly dressed when sitting in the stalls. From the mid 19th century the development of theatres in London’s West End with comfortable seating and facilities and a more refined repertory attracted the middle classes back to the wider theatre. By 1900 most theatres were lit by electricity and the auditorium was darkened during the performance. The stage was framed by the proscenium arch and separated from the auditorium by the orchestra pit.

'Spectacle Gratis' demonstrates how boisterous audiences could get whilst crammed into the seats during performances in the early 19th century. Foreign visitors to the theatre frequently commented on how noisy the audience were, both before and sometimes during performances. Drury Lane Theatre, John Bluck, 1808 As well as the disruptive elements, there were those who were paid to go and be supportive. The author's friends would applaud everything loudly whether the play were good or bad and hack journalists would be paid to write wonderful reviews, or 'puffs' as they were known. This image shows the Theatre Royal Drury Lane in 1808 when it could hold 3,611 people. These huge theatres affected the acting style as they encouraged loud voices and broad gestures that registered across the huge auditorium. Under these conditions, spectacle and farce were the entertainments that worked best. This collection of objects represents a lady's evening at the theatre at the turn of the 20th century. Theatre goer's accessories, early 20th century An Edwardian lady would be expected to wear long evening gloves and would adorn her hair with accessories such as the pearl pin that is pictured.

She would carry a pair of opera glasses to look at the performers more closely and would need a fan to cool herself in the heat of the theatre. She might also be given souvenirs of the theatrical event, such as the picture holder and glass jar shown in this selection. 1900s and beyond 20th-century theatre ranged from serious plays and classics to comedies, musicals, opera, comic opera, ballet, music hall, variety and revue. Mainstream theatre was dominated by London productions which toured the provinces. West End commercialism was challenged by the repertory movement which sprang up to promote drama with social and moral issues, and also by small companies that championed alternative theatre. Subsidised theatre as we know it today began to flourish after World War II with the founding of the Arts Council of Great Britain in 1946. This led in 1963 to the creation of the long-awaited National Theatre which opened at the Old Vic before moving to the South Bank in 1976-77. The second half of the 20th century saw much more experimentation with plays and theatre spaces.

World War II changed people’s world view and many writers explored new forms and content, especially after Samuel Beckett’s 'Waiting for Godot' and John Osborne’s 'Look Back in Anger' were staged in London in 1955 and 1956 respectively. The abolition of theatre censorship in 1968 provided another catalyst for a new wave of political writing that ventilated feminist, gay, lesbian and community theatre issues. There was a move away from the traditional proscenium arch theatre and companies adopted different forms of stages such as in-the-round, thrust, traverse and site-specific performances. Small fringe theatres sprang up in converted warehouses and pubs. Pantomime audience, Graham Brandon, 1994 Today performances spaces are still evolving and developing, while conventional theatres continue to present plays and spectacular musicals to modern audiences. This is a picture of an excited audience at 'Dick Whittington', performed at The Palace Theatre, Manchester, in 1994. It starred Ken Dodd, a comedian who is well known for 'getting an audience going'.

'Oh no he's not!' The Lyceum Theatre, Wellington Street, London - Also known as The Theatre Royal, English Opera House / Royal Lyceum Theatre / English Opera House / Palais de Dance / Mecca Ballroom The Lyceum Theatre, Wellington Street, London Also known as - The Theatre Royal, English Opera House / Royal Lyceum Theatre / English Opera House / Palais de Dance / Mecca Ballroom Above - The Lyceum Theatre, London, during the run of 'The Lion King' More information about the current production at this Theatre can be seen here The Lyceum Theatre, which dominates the bottom of Wellington Street, London today, has a long and distinguished history. It was originally designed by Samuel Beazley and opened in 1834 , and despite many alterations and rebuilds over the years, notably by the architects C. J. Phipps in 1882 and Bertie Crewe in 1904 , the facade of the Theatre with its magnificent Portico is still that of the original Samuel Beazley Theatre. Before this Theatre however, an earlier Lyceum Theatre existed on a nearby site, details of both Theatres now follow.

The First Lyceum Theatre, Strand, London The first Theatre with the Lyceum name was built on a site just adjoining the present Theatre, in 1772, with its main entrance on the Strand , and opposite what was then Wellington Street, but is now called Lancaster Place (the entrance to Waterloo Bridge). This was long before Wellington Street was extended northwards up towards Bow Street where the current Lyceum Theatre now stands. Right - An engraving of the first Lyceum Theatre in 1809 when its entrance was on 254 the Strand - From 'The Lyceum' by A. E. Wilson 1952. This first Lyceum Theatre, which was originally built as an 'Exhibition Room of the Royal Incorporated Society of Artists of Great Britain' and not a Theatre at all, was designed by the architect James Paine who is also known for designing some of the bridges over the Thames at Chertsey, Walton, Kew, and Richmond , and many important houses and other buildings in London and the rest of the Country.

The foundation stone for the Lyceum was laid in 1771 and it duly opened in 1772 but was not a success and was soon sold and let to anyone who would pay the rent. In 1777 the Lyceum became an Exchange, Exhibition Space, Debating Room, and Gallery, and later was home to various forms of entertainment including bare knuckle boxing matches. Left - The roof of the first Lyceum Theatre - From 'The Lyceum and Henry Irving' by Austin Brereton, published in 1903 . In 1789 the building became home to the Royal Wax Works of Mr. Sylvester for a short time, but was then put up for auction in March 1790 but didn't sell, and was put to use instead as an exhibition space for showing exotic animals including an Ostrich, Zebras, and even a baby Rhinoceros. The song writer Charles Dibdin gave an entertainment later in the same year which ran very successfully for 108 nights. Dibdin would return to the Lyceum on successive seasons.

In 1794 after Astley's in Westminster Bridge Road had burnt down, Philip Astley took over the Lyceum to continue his circus entertainments there. After this the building became a sale room, lecture hall, and exhibition space again, sometimes putting on musical entertainments too. In 1794 Samuel Arnold took over the Lyceum and converted into a Theatre, but the managers of the Patent Theatres, namely Drury Lane and Covent Garden , objected to the new Theatre and its Licence was refused. Arnold had to give up the Theatre and it then became home to Maria Porter's 'Great Panoramas', some of which were 120 feet long, set on rollers, and exhibited such scenes as the 'Siege of Acre, and the battles of Lodi, of Alexandria, and of Agincourt.' Madame Tussaud exhibited her Wax Works at the Theatre in 1802 , and in 1805 the Lyceum became known as the 'Loyal Theatre of Mirth' when it put on a production called 'The Female Hussar'.

Above - The Auditorium of the first Lyceum Theatre in 1790 - From 'The Lyceum and Henry Irving' by Austin Brereton, published in 1903 . The long history of the Lyceum as a proper Theatre really began in 1809 when Drury Lane was destroyed by fire and its Company needed a new home to perform in whilst their own Theatre was being rebuilt. The Drury Lane Company first decamped to the King's Theatre in the Haymarket, but then moved to the Lyceum Theatre on the Strand from April the 11th 1809 . They would remain at the Lyceum until June 1812 . The rebuilt Theatre Royal, Drury Lane was finally completed and reopened in October 1812 . And so began the long history of the Lyceum Theatre that we know today, albeit originally on a slightly different site fronting the Strand. Above - The Auditorium of the first Lyceum Theatre in 1790 - From 'The Lyceum and Henry Irving' by Austin Brereton, published in 1903 .

The first Lyceum Theatre was destroyed by fire on the 16th of February 1830 . Howver, once Wellington street had been extended northwards, a new Lyceum Theatre was then constructed on the present site to replace the original Theatre. The Lyceum Tavern now stands on the site of the original Theatre's entrance and has a remarkably similar facade, see images below. Above - An engraving by George Cooke in 1829 showing the Lyceum Theatre's original entrance on the Strand opposite Wellington Street before the 1830 fire which destroyed it, the Lyceum Tavern now occupies the site and its facade is remarkably similar to the original Theatre's, see image below. The 1829 engraving also shows the Exeter Change , now the site of the Strand Palace Hotel. Above - A Google StreetView Image showing the same view as the 1829 engraving above. Note the Lyceum Tavern's very similar facade to the original Lyceum Theatre entrance - Click to Interact.

The Second Lyceum Theatre, Wellington Street, London Above - The Lyceum Theatre, Wellington Street, in 1834 - From 'The Lyceum and Henry Irving' by Austin Brereton, published in 1903 . The new Lyceum Theatre, situated on Wellington Street, was designed by the architect Samuel Beazley , and opened on the 14th of July 1834. This Theatre was for a long time managed by Sir Henry Irving , indeed the new Theatre became famous for its association with Irving and Ellen Terry who were associated with the Theatre until their last performance there in 1902. Right - The Auditorium and Stage of the Lyceum Theatre in 1834 - From 'The Lyceum and Henry Irving' by Austin Brereton, published in 1903 . Charles Dickens's junior wrote about Irving and the Lyceum Theatre in his 'Dickens's Dictionary of London' in 1879 saying:- 'The Lyceum Theatre, Wellington-street, Strand - Has recently passed into the hands of Mr. Irving , who has for some years past been the leading actor and principal attraction there.

Left - A programme for Henry Irving's production of 'The Merchant of Venice' at the Lyceum Theatre in June 1895 - Kindly Donated by Judith Clarke - Click for more information. It is one of the prettiest houses in London, and, while large enough to enable the poetical drama, even in the case of the heaviest Shaksperean play, to be effectively mounted, is not too large for the requirements of a modern audience. It may be noticed that evening dress is more commonly in vogue in the stalls and dress-circle here than at other theatres, but there is no absolute rule. It is worth notice, too, that the Lyceum, occupying a perfectly isolated position with a street on each of its four sides, offers special facilities for egress in case of alarm, whilst the saloon and lobby accommodation is on an unusually handsome scale, only equalled by that at Drury Lane .' The above text in quotes was written by Charles Dickens's (Jr.) in his 'Dickens's Dictionary of London' 1879.

Left - A script for Henry Irving's production of 'The Merchant of Venice' at the Lyceum Theatre in November 1879 Kindly Donated by Judith Clarke - Click for more information and the full programme for this production. Far Left - A Script for Henry Irving's production of 'King Lear' at the Lyceum Theatre in 1892 - Kindly Donated by Judith Clarke - Click for more information. C. J. Phipps Reconstruction and Alterations of 1882 The original architect of the Wellington Street Lyceum had been Samuel Beazley but in 1882 the prolific Theatre Architect C. J. Phipps partially reconstructed the building and made many improvements. In 1884 Phipps also altered the Circle Fronts and oversaw their redecoration. This incarnation of the Lyceum would survive until 1904 when it was reconstructed by Bertie Crewe , retaining only Samuel Beazley's original facade and portico, more on this below .

Right - The Lyceum Theatre in 1903 , shortly before its reconstruction by Bertie Crewe the following year - From 'The Lyceum and Henry Irving' by Austin Brereton, published in 1903 . Above - C. J. Phipps ' Lyceum Theatre Auditorium in 1890 - From 'The Lyceum' by A. E. Wilson 1952 Above - A programme for William Terriss, Henry Irving, and Ellen Terry playing in 'Ravenswood' at the Lyceum Theatre , 20th of September 1890 , which appears to have been signed by Ellen Terry herself in October the following year - Courtesy Sally Hewett. Bertie Crewe's Reconstruction of 1904 In 1904 another respected Theatre Architect, Bertie Crewe , rebuilt the Theatre retaining only Samuel Beazley's original facade and portico. Right and below - Henry Irving and Ellen Terry playing the Master of Ravenswood and Lucy Ashton in 'Ravenswood' at the Lyceum Theatre in September 1890 - Courtesy Sally Hewett.

In the personal scrap book of Marie de Mensiaux there was an article from 'The Boulogne & North France Times' of March 4th 1904 , which describes how she was able to look round the Lyceum Theatre whilst the workmen were destroying the interior. The article was kindly sent in by Trevor Dudley and says:- 'I have taken my leave of the poor old Lyceum Theatre. To my great regret, it was impossible for me to be present at the sale of the properties and effects which took place within its walls, but I did want to say a last farewell to a house so full of pleasant memories for me. On the 18th of March, coming away from The Theatrical Ladies Guild, as I passed the closed doors of the Lyceum, and heard the hammering of destruction going on inside, I tried the door of the main entrance, and it gave way at my touch, but I was at once stopped by some one in auuthority who informed me that it was strictly forbidden for anyone to go in except the workmen.

Fortunately for me, we still have an "Open Sesame" in our modern times - "I am one of the Press" - passed me in without further objection, and I was handed over to the guidance of, the fireman, I think: not a workman, evidently, and one who had belonged to the theatre staff, for he spoke of Sir Henry Irving , as "The Goo'nor". For the last of many a time I walked up the lobby steps leading to the back of the dress-circle, and there stopped perforce. I could walk half way round the house on the passage behind the dress-circle, but the circle itself was gone; the boxes were gone, the roof was almost gone. The stage had disappeared, the stalls were a mess of debris. And the curtain, or rather the drop-scene, which had not even been drawn up when the work of destruction began, was now only a tattered fragment hanging in mid air, and looking more like an overgrown cobweb than anything else. A sad sight.

By the time you read this, nothing but the outer walls will be left, and the theatre we so loved to crowd in, (to use the words of the American Poet, Samuel Minturn Peck.) Must join the dear delights of yore And only live in memory's casket. And the best of all memory's casket, is Austin Brereton's The Lyceum and Henry Irving. This book, which appeared last autumn, is an exhaustive history of the Lyceum from its very beginning. And we, lovers of the stage, owe a debt of gratitude to Mr. Brereton for enabling us to procure so valuable a souvenir. I must confess that I brought away a few fragments of the old place with me. - Marie De Mensiaux, the Bologne and North of France Times, March 24th, 1904 - Courtesy Trevor Dudley. The work described above was carried out to the designs of the Theatre Architect, Bertie Crewe , who rebuilt the Theatre in 1904 , retaining only Samuel Beazley's original facade and portico. The Theatre reopened on the 31st of December 1904 as a Music Hall .

Irving would never live to see the Theatre return to legitimate drama again as he died in 1905 before it occurred. But on the 30th of March 1907, under the joint management of H. R. Smith and Ernest Carpenter, who formed a company known as Popular Playhouses Ltd, the Lyceum was returned to legitimate theatre use again. There were further minor alterations to the Theatre by Edward Jones in 1919 . Above - Plans of the Lyceum Theatre - From 'Modern Theatre Construction' by Edward Bernard Kinsila, 1917 In 1937 Frederick Melville had the Theatre converted into a Cinema which involved much reconstruction including building a projection booth above the portico, still there today, lowering the auditorium's floor and re-seating and re-carpeting at a cost of nearly £12,000. The Cinema opened with the film 'The Gang Show' on the 13th of April that year but it was to be the only film shown in the Cinema as Melville had neglected to realise that the Film Circuits of the time had the rights to distribution sewn up. The Cinema was converted back to live Theatre the following month.

Above - The Lyceum Theatre in 1930 whilst home to a production of 'Traffic' with Mary Glynne and Dennis Neilson Terry. On the 1st of July 1939 the Theatre closed down after the final performance of John Gielgud's production of 'Hamlet' and was scheduled for demolition so that a block of flats could be built on the site. (There is much more information on this 'last performance' and the whole history of the Lyceum Theatre further down on this page .) By the following May however, the scheme to build a block of flats on the site was halted when a new scheme to widen the Strand meant that a roundabout would be built on the site instead. On the 17th of June an auction took place to sell off everything that could be removed from the Theatre including the Iron Curtain which went for just nine guineas, the entire mahogany Box Office for ten shillings, the lighting switchboard for twelve guineas, and 846 of the Upper Circle's seats for just five pence each.

However, due to the outbreak of the Second World War the demolition of the Theatre was put on hold and although it remained empty and forlorn throughout the war years, thankfully the demolition never took place. Conversion to a Ballroom in 1945 In 1945 the Theatre was converted into a Ballroom called the Palais de Dance for Mecca who had previously been using the Opera House as a Ballroom during the war years. The conversion of the Lyceum was done by Matthews and Sons who transferred the flooring from the Opera House and transplanted it into the empty Lyceum. Right - The Palais de Dance in the auditorium and stage of the former Lyceum Theatre on October the 22nd 1945 - From 'The Lyceum' by A. E. Wilson 1952. The Lyceum Ballroom was very successful and many people still have fond memories of visiting it.

In its early years the Ballroom was host to some of the Biggest Dance Bands of the day, and in its later years put on popular concerts with acts such as The Grateful Dead, The Clash, Bob Marley and The Wailers, Led Zeppelin, The Who, Emerson, Lake & Palmer and many others, and was also home to several Television Broadcasts. However, after the Ballroom's eventual closure the Lyceum's future again looked bleak and the Theatre remained dark and dilapidated for a great many years. The Theatre did reopen briefly in 1985 when it became the temporary home to the National Theatre's promenade production of Bill Bryden's adaptation of the Mysteries Trilogy, but after the abolition of the GLC in 1986 the London Residuary Body sold a 125-year lease on the building to Brent Walker and the Theatre's future looked even more uncertain.

Above - The Lyceum Theatre looking very sorry for itself, boarded up and dark, this photo was taken shortly before its 1996 refurbishment - Courtesy Jason Mullen The 1996 Restoration of the Lyceum Theatre The freehold of the Lyceum Theatre was later transferred to The Theatres Trust and they were able to eventually negotiate a transfer of the lease from Brent Walker to the Apollo leisure group, who, with Lottery funding, converted the building back to a live Theatre use and restored the auditorium, totally rebuilt the stage house, and incorporated an adjoining building. This was all accomplished by Holohan Architects in 1996 at a cost of £14 million. I visited the Lyceum myself shortly before the works began and at that time it was hard to believe that it would be possible to restore the Theatre to its former grandeur, such was the state of the building, in fact it was comparable to the London Hippodrome in 2003. The restoration was however a great success and the Theatre looked splendid inside and out when it was reopened by H.R.H.

Prince Charles on the 31st October 1996 with a new production of Andrew Lloyd Webber's 'Jesus Christ Superstar'. The Lyceum has since become famous for being the London home of the Disney musical 'The Lion King' which has been playing at the Theatre since 1999. Above - The Lyceum Theatre during refurbishment and reconstruction in 1996, the photo shows the stage house and dressing room block completely demolished before reconstruction - Courtesy Jason Mullen Above - The Lyceum Theatre's Stage House during demolition and reconstruction in 1996 - From the Theatre's Opening Souvenir Brochure of 1996 Above - The Lyceum Theatre's Auditorium and Stage House during renovation in 1996 - From the Theatre's Opening Souvenir Brochure of 1996 Above - Bertie Crewe's wonderful Lyceum Theatre Auditorium being restored in 1996 - From the Theatre's Opening Souvenir Brochure of 1996 Above - The Lyceum Theatre's 1996 restored Auditorium - Courtesy John Mann 08.

Above - The Lyceum Theatre's Auditorium today - Courtesy John Mann 08. The Lyceum Theatre today has a capacity of 2,000 and is a Grade I Listed building. The Theatre was bought by The Ambassador Theatre Group in November 2009 and you may like to visit their own Website for the Theatre here. More articles and images for the Lyceum Theatre can be seen below. The Lyceum Theatre - From the Theatres Trust Guide Reproduced here with the kind permission of the Theatres Trust The Lyceum is a building of outstanding national importance, architecturally and theatrically. Its history is complex. A public building of this name stood on an adjoining site (now covered by Wellington Street) in 1772, then a theatre from 1794 until Wellington Street was formed, when a new theatre was built on the present site. This opened in 1834 . It was for a long time managed by Sir Henry Irving and was famous for its association with him and Ellen Terry (their last performance in 1902 ).

Right - The Lyceum Theatre in 1938 during the run of 'Queen of Hearts.' The Crewe interior is post-Irving and was intended to be a variety house to compete with the Palace and the London Coliseum but it was not a success in this mode and soon reverted to drama. It was purchased by the LCC in 1939 for demolition in connection with a road improvement, later abandoned. Leased to Mecca, it became a ballroom. The abolition of the GLC in 1986 led to a period of darkness and uncertainty, during which the London Residuary Body sold a 125-year lease to Brent Walker before transferring the freehold to The Theatres Trust. They eventually negotiated a transfer of Brent Walker's unexpired term to Apollo leisure, who set about works of restoration and improvement. The theatre reopened in 1996 as a home for large scale musicals.

Despite the fact that the symmetrical neoclassical composition was altered at upper level by 1904 and the domed attic lost, Samuel Beazley's 1834 facade and portico remain today as rare and valuable pre-Victorian survivals The portico stands over the public footway (cf Haymarket) and is a striking incident in the view up Wellington Street from the Strand . Left - Programme for The 'Queen Of Hearts' Pantomime produced at the Lyceum Theatre on December 26th 1938. The Crewe theatre occupied a wider plot than the earlier building and the portico and entrance staircase are, as a consequence, offset from the axis of the auditorium. The splendid foyer and staircase lead now to Crewe's richly ornamented variety house interior. The rococo-ornamented panel over the proscenium is, perhaps, rather too deep for complete comfort, but the auditorium must, nevertheless, be rated as one of the most flamboyant in Britain. The most striking alteration in the 1996 works was the total rebuilding of the stage house to give flying height for the most demanding modern productions.

The old stage house was the result of a patchwork of alterations and additions to the Beazley / Phipps stage with further enlargement by Crewe The new fly tower is, as it must be for a major musical house, a landmark. The orchestra pit has been enlarged to a size suitable for Grand Opera. Right - Image from a programme for The 'Queen Of Hearts' Pantomime produced at the Lyceum Theatre on December 26th 1938. Left - Image from a programme for The 'Queen Of Hearts' Pantomime produced at the Lyceum Theatre on December 26th 1938. Apollo's initial auditorium decorations were criticised by some and the renewed ceiling paintings are, undoubtedly, a touch raw and startling, but this remains one of the most impressive reawakenings of recent years and one which would have seemed highly unlikely as recently as the mid 1980s. It is time that this building was fully researched and an authoritative architectural account published.

The above text is reproduced with kind permission of The Theatres Trust From their indispensable book: 'The Theatres Trust Guide to British Theatres 1750-1950' John Earl & Michael Sell. Available from the publishers, A&C Black (tel 01480 212666). Images are from my own collection. M.L. The Romance Of London Theatres By Ronald Mayes. No. 45. The Lyceum The site of the present Lyceum Theatre was occupied as early as 1765 by a building housing an exhibition of paintings. From this sprang the Royal Academy. It was afterwards used for musical entertainments given by Charles Dibden, and later as a circus, brought by Astley when his amphitheatre was burned down at Westminster. Between 1794 and 1809 it was used as a chapel, a concert room, and for an exhibition of waxworks displayed by Madame Tussaud. Between 1809 and 1812 it was used for dramatic performances by the Drury Lane Company after the burning of their own theatre, until the erection of the new edifice.

In 1816 , Samuel Arnold opened it as the English Opera House, which was burned down in 1830 . Four years later the present building was erected and opened under the title of the Theatre Royal Lyceum and English Opera House. In 1840 , Balfe undertook the production of National Opera, but despite its excellent chances of success, this enterprise was a failure. In 1871 , Henry Irving took over the theatre, and with his memorable performance in "The Bells" in that year, the Lyceum entered into a new Lease of life. "The Bells," with Irving as the ghost-haunted burgomaster, played to overflowing houses for 150 nights. His next success was in "Charles I," in the following year, which ran for 180 nights. This was followed by "Hamlet," in which Irving's popularity reached its greatest height. This great actor was associated with the Lyceum for over 25 years and one of his first acts as manager was to engage Ellen Terry for his productions.

December, 1885 , saw the first night of "Faust" - the application for reserved seats would have filled twelve theatres, some thousands coming from Germany alone. Irving constantly left for tours in America, and the boards were occupied by many famous people, including Forbes - Robertson and -Mrs. Patrick Campbel, Sarah Bernhardt and Elennora Duse. Martin Harvey, a pupil of Irving's played a season there in 1899 . Coquelin, too, appeared as Cyrano de Bergerac in the summer of 1898 . The history of the old Lyceum ends with 1902 when the interior was pulled down and reconstructed, the house being opened for a while as a variety theatre. Left - The Lyceum Theatre during its time as the Mecca Ballroom, here featuring Benny Boyce and his Orchestra in 1958 - Courtesy Gerry Atkins . No account of the old theatre would be complete without reference to the "Sublime Society of Beefsteaks," the famous institution which had its home here for fifty years. It was founded by John Rich and dissolved in 1867 .

The members, who never exceeded twenty-four in number met every Saturday night to eat beefsteaks and to drink port wine. In recent Years the Lyceum has become the home of popular drama for ten months in the year, and, even more popular pantomime during the remaining two. The present attraction is "Merry, Merry," the popular musical comedy presented by Messrs. Clayton & Waller. Above text and image from a 'Magazine Programme' for The Aldwych Theatre - May 13th, 1929. Note on the history of the Lyceum Theatre by W. Macqueen Pope From a programme for John Gielgud's Production of 'Hamlet' June 28th - July 1st 1939. Above - The exterior of the Lyceum Theatre in 1834 - From a programme for John Gielgud's Production of 'Hamlet' June 28th - July 1st 1939. When The Lyceum Theatre - The Royal Lyceum Theatre, as Irving always called it, closes its doors and is demolished, one of the three most famous playhouses in London will be gone for ever.

The story of it glows with colour and is decked with great names; and although it has had, like every famous theatre, its ups and downs, it has also made great theatrical history. Irving's name alone makes its memory imperishable. Few people realise that the history of the Lyceum Theatre goes back to 1765 - 174 years ago. In that year Mr. James Payne, (James Paine M.L.) an architect, erected a building on part of the site of' the present theatre for the exhibitions of "The Society of Artists". So the Lyceum started life as the Royal Academy. Three years later the Society was disbanded, and the premises were purchased by Mr. Lingham, a breeches maker in the Strand , who let them out for dances, meetings and any other purpose for which he could find a tenant. Right - The programme for John Gielgud's production of Hamlet in 1939 which this article comes from. In 1794, Dr. Arnold, the composer, rebuilt the interior as a proper theatre.

But he encountered opposition, for the patentees of Drury Lane and Covent Garden did not want another theatre in competition, and prevented him from getting a licence, so Lingham got it back. It housed all sorts of attractions again. Astley brought his circus there when the Amphitheatre in Westminster Road was burned down - other attractions were The Musical Glasses, phantasmagoria, panoramas, a school of eloquence, a white negress and a porcupine man. And it was at the Lyceum that Madame Tussaud first exhibited her waxworks in London in 1802 . But poetic justice came to the Lyceum. In 1809 Drury Lane Theatre was burned down, and the company had nowhere to play. So the patentees of Drury Lane leased the Lyceum and actually got for it the licence which they had formerly prevented Dr. Arnold from obtaining. The company remained there until 1812 , until the present Drury Lane Theatre was ready. One must not forget that the Lyceum once housed a Club-called "The Sublime Society of Beef Steaks".

Founded by John Rich in 1755, it moved into premises at the Lyceum in 1809 , and remained there until 1867 . It was very exclusive, and very aristocratic. Its members numbered only twenty-four, and it blackballed the Prince Regent. Its members met every Saturday night to eat beef steak and drink port wine. At the end of the dining room was an enormous gridiron, through which the grill could be seen, and over the gridiron was the quotation: "If it were done, when 'tis done, then 'twere well it were done quickly." Next Samuel James Arnold, son of the Dr. Arnold who had made the Lyceum into a theatre, took over the theatre, which remained in the possession of the Arnold family until sold to the Melvilles in 1910 - so that in its long history it has only been in the hands of two families. The lessees, of course, have been numerous. Left - A page from the programme for John Gielgud's production of Hamlet in 1939 which this article comes from.

Samuel Arnold rechristened the Lyceum - he called it The English Opera House, and he tried to run opera there in English. He increased the size of the theatre by purchasing the whole block of buildings between Wellington Street and Exeter Street and rebuilt it at a cost of £80,000. The principal entrance was in the Strand - there is still an entrance there under a small portico supported by six Ionic columns - and down a long corridor upon which opened the door of a tavern, exactly as it does to-day. At prices ranging from one to five shillings the house held £350. The interior was handsome of its kind, and a great feature was a saloon seventy-two feet long and forty wide, decorated with flowers and shrubs according to the seasons of the year. Sometimes this saloon was made to resemble an Italian Terrace, sometimes a Chinese Pavilion, and sometimes represented an ancient Egyptian temple. The Lyceum - or English Opera House - was one of the very first places of public entertainment to be lit with gas - the Haymarket Theatre was the last - and in 1817 the introduction of gas lighting on the stage was made a great feature on the bills.

Gas was extended to the auditorium later in the same season. The Olympic - the first place to adopt gas lighting -had installed it two years previously. Those were leisurely days. The new theatre opened on 15th June, 1816 , with "Up All Night" (or "The Smuggler's Cave") and "The Boarding House". T. P. Cooke, Harley and Miss Love were the stars, but the success of the bill was made by Fanny Kelly, who also delivered an Address at each performance. Charles Lamb fell in love with her and proposed to her by letter, but she refused him. She had appeared, as a child, with Mrs. Siddons. She was really the Lyceum's first star. But the English Opera House was not a success - although twice nightly performances were tried there in 1817 . Then in 1818 Matthews the elder appeared and made a great success. The bills announced that Mr. Matthews would be "At Home" at the Theatre Royal, English Opera House, Strand; and would have the honour of presenting an entertainment to his visitors.

Matthews' great strength lay in his power of mimicry - for without the aid of make-up he would disguise his personality entirely. He proved a great success. But general prosperity did not come to the theatre - English opera failed. In 1821 we find the first mention of "Hamlet" being performed when Mrs. Glover appeared in it for the occasion of her benefit. In 1828 a gas explosion closed Covent Garden , and the company came to the Lyceum, and included Kean . On February 10th, 1830 , the theatre was burnt down. It was a terrible fire, and involved Arnold in a loss of £8,000. (Please note that the date for the fire was actually the 16th February and not the 10th as stated here. M.L.) In 1834 the new building was opened, rechristened "New Theatre Royal, Lyceum and English Opera House". Why the title of Theatre Royal should have been adopted is a mystery, for the Lyceum has never had a Royal Charter.

Above - An early Entrance Token for a Box at the Theatre Royal English Opera House - Courtesy Alan Judd Beazley , the architect, made a curious mistake. He forgot to provide a staircase to the gallery, and a wooden one, which stood for years, had hastily to be put up. John Barnett's opera, "The Mountain Sylph", was the opening attraction, and ran for a hundred nights. But in 1835 the management was bankrupt, and the company were running on a commonwealth, pooling the takings. In the winter of 1838 - 9 the first Promenade Concert ever held in this country took place at the Lyceum. Above - The auditorium of the renovated Lyceum Theatre with Mme Vestris and C. J. Mathews in Planche's The Pride of the Market, October 18, 1847 - From 'The Lyceum' by A. E. Wilson 1952. In 1841 Balfe took over the theatre with a flourish of trumpets and announced that he would present Opera there. Orchestra Stalls were introduced for the first time. The Queen headed the list of subscriptions.

But it all came to nothing. In 1847 Madame Vestris took a lease of the Lyceum, where she remained for seven years - indeed, she made her last appearance there, in "Sunshine Through the Clouds". Just before her management, the famous Keeleys had run it, and Charles Dickens' novel "Martin Chuzzlewit", in dramatic form, had been a big success. Dillon comes next in the list of great names: a man who might have been as great as Irving had not the lure of the bottle been too much for him. Madame Celeste performed "A Tale of Two Cities" at the Lyceum, playing Madame Defarge, and there was another period of opera with Titiens, Alboni and a wonderful cast. The came Charles Fechter, the great French actor, who revolutionised tile stage and acting. His startling changes in methods of staging and acting crowded the Lyceum - as did his Hamlet. Kate Terry, Herman Vezin, Emery and Jordan were amongst those who supported him. Opera Bouffe followed, but was a dismal failure. Then followed a management with which these last performances at this great playhouse have a direct line.

In the autumn of 1871 Colonel H. L. Bateman took the theatre. Everyone prophesied failure. He was a great showman, and his three daughters Kate, Isabel and Virginia, were fine actresses, and in his company was an actor called Henry Irving . But he opened badly. "Fanchette", his first production, failed completely. "Pickwick", with Irving as Jingle, was an artistic success but brought in no money. Things looked serious. Now Henry Irving had in his possession a play by Leopold Lewis, founded upon a story by Erckman-Chatrian, called "The Polish Jew". This he took to Bateman. As a desperate throw it was decided to produce it. Bateman really considered an actor called George Belmore as his leading man, but he put up this play with Irving in the lead. It was called "The Bells". Left - Three Ophelias at the Lyceum Theatre, Fay Compton, Isabel Bateman, and Ellen Terry - From the programme for John Gielgud's production of Hamlet in 1939 which this article comes from. Like so many theatrical stop-gaps it was an enormous success.

Irving had already made his mark at the St. James's and at the Queen's, Long Acre (now the offices of Odhams' Press), and especially at the Vaudeville as Digby Grant. But we have to go back to the debut of Garrick, the triumphs of Kean , and the sensation made by Macklin's Shylock to find a reception comparable to that given to Henry Irving on that November evening in 1871 , when he first appeared as the Burgomaster Mathias. The play packed the theatre for 150 nights. He next appeared as Jeremy Diddler in "Raising the Wind", arid later Kate Bateman appeared as Leah and Medea. Irving's next success was in Wills' "Charles The First", in September, 1872 . Isabel Bateman played the Queen. Then came "Eugene Aram", a big success for Irving, but not a financial success. "Richelieu" and "Philip- followed. But on 31st October, 1874 , came one of the greatest Lyceum nights.

Bateman presented "Hamlet" with Irving as the Prince and Isabel Bateman as Ophelia. Bateman worked the press for all it was worth. He invited representatives of the provincial papers, a thing which had not been done before for a London first night. Next day eulogies of the production of' Isabel Bateman and of Irving were scattered all over the country. And that night Irving was recognised as one of the greatest actors of his time. Now with that production we have direct links to-night, for H. L. Bateman was maternal grandfather to Fay Compton, whose performance as Ophelia you witness now, Isabel Bateman was her aunt, and the First. Gavedigger was played by Henry Compton, Fay Compton's paternal grandfather. "Hamlet" ran until June 25th, 1875, long after the death of Colonel Bateman in the previous March. In 1875 , Irving appeared as Macbeth with Isabel Bateman as Lady Macbeth.

Irving played Othello in 1876 , but it was one of' his failures, nor did Tennyson's "Queen Mary", with Isabel Bateman as the Queen and Irving as Philip of Spain,' prove popular. This was followed by "The Belle's Stratagem". Miss Bateman carried on her father's management and produced "Richard III" with Irving in the title role, in 1877 - a big success. "The Lyons Mail" followed and then "Louis XI", with more laurels for the brow of Irving. "Vanderdecken" came next, and then the Bateman family relinquished the management. Right - Henry Irving and Ellen Terry - From the programme for John Gielgud's production of Hamlet in 1939 which this article comes from. Irving became his own manager - thanks to the backing of the Baroness Burdett - Coutts, which he was soon able to pay her back again. On 30th December, 1878 , he became the sole lessee. He revived "Hamlet" and Ellen Terry was his Ophelia.

Here again is another link with to-night, for Ellen Terry was John Gielgud's great aunt. The season ended with a revival of "The Lady of Lyons". Left - Henry Irving and Ellen Terry as Hamlet and Ophelia - From the programme for John Gielgud's production of Hamlet in 1939 which this article comes from. The next production was "The Iron Chest", but this soon gave way to a revival of "The Merchant of Venice" Irving's Shylock was magnificent, but Ellen Terry gave of her greatest art as Portia, which she had first played some years before with the Bancrofts. The Lyceum revival achieved the longest run on record for that play. On the hundredth night Irving gave a supper on the stage - the first of his great stage suppers, which were to become a feature of the artistic life of London. Irving then revived "The Corsican Brothers", following Kean's conception of the dual role, but he was probably less successful than was Fechter in the same play.

In 1881 , he presented "The Cup", in which Ellen Terry made a big success as Camma, and for which Irving created one of the loveliest stage productions ever seen. In May, 1881 , Irving and Booth alternated the roles of Othello and Iago. Irving triumphed in the latter part. A similar success, in the same part, was to be made at His Majesty's by his son Laurence years afterwards to the Othelo of Sir Herbert Tree. Right - A Programme for Edwin Booth, Henry Irving , and Ellen Terry in 'Othello' at the Lyceum Theatre in May 1881 - Courtesy Raymond Buckland -See Cast List Below. One must also mention a revival of "The Two Roses", by James Albery, with Irving as Digby Grant. This performance introduced George Alexander to the London stage for the first time. The big theatrical event of 1882 was the production of "Romeo and Juliet". This was one of Irving's mistakes. He was not at all suited to Romeo, and Ellen Terry, except in certain scenes, did not shine as Juliet.

William Terriss played Mercutio without distinction, and the successes were made by Mrs. Stirling as the Nurse, and Tom Mead as the Apothecary. But the production was superb. Ellen Terry made perhaps her greatest success in "Much Ado About Nothing", which followed "Romeo and Juliet". Her Beatrice made stage history. She broke through the old tradition of the part and played it in her own way, delighting and charming even the most crabbed and conventional playgoers and actors. Irving and Ellen Terry went to America, and in 1885 Mary Anderson made her London debut at the Lyceum. On Irving's return in 1884 he presented "Twelfth Night", with Ellen Terry as a delightful Viola, but there was trouble on the first night owing to a reserved pit, Irving made an unfortunate speech, and the production was not a great success. During that summer extensive alterations were made to the theatre, and the principal entrance - then as now in Wellington Street - was reconstructed.

Left - Cast Details from a Programme for Edwin Booth, Henry Irving , and Ellen Terry in 'Othello' at the Lyceum Theatre in May 1881 - Courtesy Raymond Buckland - See Cover Above. Followed one of the great Lyceum first nights - when "Olivia" was presented in May, 1885 . This was a stage version of "The Vicar of Wakefield", and the part of the Vicar, originally played by Hermann Vezin at the Court, under John Hare's management, provided Irving with one of his most notable performances. Ellen Terry repeated her triumph as the Vicar's wayward daughter. It was said that there was not a dry eye in the house, and even hardened critics wiped their eyes furtively and blew their noses. But perhaps the greatest of all Lyceum first nights - one of the greatest that London has ever seen - came on 19th December, 1885 , when Irving produced "Faust". His friends told him the play would fail. But there were enough applications to fill six theatres of the size of the Lyceum, and thousands of visitors came from Germany as well.

People gathered outside the theatre at nine in the morning. By six o'clock the crowd was halfway along the Strand . Scores of fashionable women thronged the vestibule all day casting despairing glances at Hurst, the box office keeper, and attempting to rush the doors. It was a wonderful production. Irving was fine as Mephistopheles, Alexander made a hit as Valentine, and afterwards succeeded to the role of Faust, in which Conway had failed on the first night. But greatest of all was the success of Ellen Terry as Margaret. Mrs. Stirling, who played Martha, left the stage at the end of the run after a great career of fifty-seven years. Irving broke the continuity of his management by repeated visits to America. Sarah Bernhardt played "Theodora" at the Lyceum in 1887 , and Richard Mansfield came over from America and appeared at the theatre. Mary Anderson produced "The Winter's Tale" in 1888 and in the same year Irving played "Robert Macaire", while in "The Amber Heart" Ellen Terry had another triumph as Ellaline.

Right - A programme for the 96th performance of 'Macbeth' with Henry Irving and Ellen Terry, and with Bram Stoker as acting manager, at the Lyceum Theatre on April the 25th, 1889 - Kindly donated by Jane Hunt. In 1889 Verdi's "Otello" was first sung in London at the Lyceum, with Tamagno and Maurel, and Sarah Bernhardt played "Tosca" there for the first time in London. The Autumn brought Irving and Ellen Terry again in "The Dead Heart", and productions of "Macbeth" and "Ravenswood" followed. (Note the programme shown right refutes W. Maqueen Pope's Autumn statement as this production of Macbeth was for April 1889 . M.L.) Above - A programme for the 96th performance of 'Macbeth' with Henry Irving and Ellen Terry, and with Bram Stoker as acting manager, at the Lyceum Theatre on April the 25th, 1889 - Kindly donated by Jane Hunt.

Above - The Lyceum Theatre in 1891 - From a programme for John Gielgud's Production of 'Hamlet' June 28th - July 1st 1939. In 1891 further alterations were made to the Theatre and in 1892 Irving produced "Henry VIII". Scenically this was claimed to be his greatest triumph - and Edward German's now famous Dances were used for the first time. Irving was in fine form as Wolsey, but Ellen Terry did not impress as Katharine. "Lear" followed - not a success for Irving, but a decided one for Ellen Terry as Cordelia. Right - A programme for Henry Irving's production of 'The Corsican Brothers' and 'Nance Oldfield' at the Lyceum Theatre in May 1891 - Courtesy Jacqueline Selcoe. In 1895 Irving produced "Becket", one of the greatest acting successes of his wonderful career. He played the part on the night before he died. Tennyson's "King Arthur" followed, adapted by Comyns Carr, with Ellen Terry as Guinevere and Forbes-Robertson as Lancelot.

"Don Quixote" and "A Story of Waterloo", two one-act plays, will be remembered by all who saw them. Left - Cast details from a programme for Henry Irving's production of 'The Corsican Brothers' and 'Nance Oldfield' at the Lyceum Theatre in May 1891 - Courtesy Jacqueline Selcoe. Irving went again to America-and Mrs. Patrick Campbell and Forbes Robertson took the Lyceum. Forbes-Robertson was to appear there as Hamlet in 1897 . Previously he had been in Irving 's company in 1882 , playing Claudio in "Much Ado About Nothing". Afterwards he played Leontes in "A Winter's Tale" with Mary Anderson in 1887 , and in 1892 he was back with Irving as Buckingham in "Henry VIII". Now, in September, 1895 , he played "Romeo and Juliet" with Mrs. Patrick Campbell, under his own management. On Irving's return he did a revival of "Richard III". After the first night he fell and injured his knee. From this time his luck began to fail.

In 1897 he produced, "Madame Sans Gene", with himself as Napoleon and Ellen Terry as Madame Sans Gene. "Peter the Great" and "The Medicine Man" - followed, but were not successes. Right - Cast details from a programme for Henry Irving's production of 'The Corsican Brothers' and 'Nance Oldfield' at the Lyceum Theatre in May 1891 - Courtesy Jacqueline Selcoe. Some failures and constant absences in America - also a severe fire at a theatrical warehouse which burnt many of his finest productions - had weakened the popularity of Irving , and he now relinquished the management of the theatre to a syndicate headed by Comyns Carr. Coquelin appeared at the Lyceum in 1898 as Cyrano de Bergerac. Irving appeared as Robespierre in 1899 . Wilson Barrett did a season in 1899 - including a revival of "The Silver King" - and the Benson Company also appeared there, Sir Frank Benson playing "Hamlet" in its entirety. Irving reappeared as Coriolanus - and failed. Lewis Waller presented "The Three Musketeers" and "Henry V".

In 1901 "Sherlock Holmes" was produced with William Gillette as the great detective. In the following year Irving revived "Faust", but his star was setting. The curtain fell on Irving at the Lyceum on 19th July, 1902 , with "The Merchant of Venice" and "Waterloo". Thus ended one of the greatest phases of the English Theatre. Left - The entrance to the Lyceum Theatre, draped in crepe after Henry Irving's death in October 1905 . - From 'The Lyceum' by A. E. Wilson 1952. Sir Henry Irving was the first actor to receive the honour of knighthood. His personal magnetism and distinguished career raised the whole status of his profession - the actor gained a social position which he had never before achieved, and the drama was again acknowledged one of the great arts. Irving's acting genius, his magnificent standard of stage production, created a new tradition - one that has never been surpassed. His name and work will always be remembered - even when this great theatre falls, as fall it must in a few short weeks.

Although no sign of it will remain, the memory of the Lyceum and Henry Irving will surely live forever. The Lyceum, since those great days, has seen many vicissitudes. Smith and Carpenter gave it drama and pantomime - and under their management the plays of Hall Caine drew London. Matheson Lang played Hamlet - a memorable performance in the great tradition. Right - The Lyceum Theatre during John Gielgud's production of Hamlet in 1939 - From 'The Lyceum' by A. E. Wilson 1952. Afterwards the theatre was, for a short time, a music hall as well. Then, thirty years ago, the Brothers Melville -Walter and Fred - bought the Lyceum and gave it another spell of fame and glory. They produced dramas, often written by themselves. They were men of the theatre - their grandfather, George Melville, had actually given Irving the rights of "The Bells," so to some extent the Melville family had laid the foundation of Irving's greatness.

And the Melvilles made the Lyceum pantomimes - pantomimes which crowded the great theatre for over a quarter of a century with delighted children, and no less delighted grown-ups. Under the Melvilles the Lyceum again became one of London's most famous playhouses. Both brothers, alas, have now passed on - they died within a year of each other - and now, soon after their deaths, goes the theatre which they loved so much - a theatre which will always be remembered in the history of the stage - a theatre which has added an imperishable page to the dramatic history of London. And so, with John Gielgud as Hamlet and Fay Compton as Ophelia, two players bred in the tradition of the theatre, with some of its finest blood in their veins-the Lyceum passes on. "The Rest is Silence". Above Text by W. Macqueen Pope - From a programme for John Gielgud's Production of 'Hamlet' June 28th - July 1st 1939. Above - A Photograph of The Lyceum Theatre, looking down Wellington Street towards the Strand in 2005

Question: What is London's Theatre Royal more commonly called
Answer: Drury Lane