34-617: The Holborn Theatre was a theatre on High Holborn in London which opened in 1867 as the New Royal Amphitheatre and operated as an equestrian ring and theatre until 1886. During its short existence the theatre underwent numerous name changes, becoming the Holborn Theatre in 1884. Located at 85 High Holborn , the venue opened on 25 May 1867 as the New Royal Amphitheatre under the management of Thomas M'Collum (or McCollum, 1828 - 1872),
68-405: A cast that included Lionel Brough . During its existence the venue offered a wide mixture of performances, starting with circus style acts and from 1873 presenting farce, ballet and dramas. In 1884 the theatre closed after a riot and reopened the following year after being redecorated and receiving new seating - with capacity increased to 1,000 gallery seats and 1,000 pit seats. The venue closed as
102-601: A collection of some of his essays), Rubbing the Gilt Off (a collection of his early political essays (1860) Odd Journeys (1860, a collection of travels), Ways of Life (1861, a volume of humorous papers), Ragged London (1861, a collection of his reports for the Morning Post ), and Underground London (1862). Other publications included a collection of humorous stories entitled Rough Diamonds and two volumes of miscellaneous essays called Today . He also wrote plays. In
136-411: A much admired American-born two horse rider and circus owner. M'Collum took out a 55-year lease on the new venue with his business partner William Charmen. The theatre was built by Thomas Ennor and designed by architect Thomas Smith. In its May 1867 edition The Building News and Engineering Journal commented on the construction of the new theatre, stating: 'A spirited attempt is about to be made to revive
170-521: A musical extravaganza called Thespis . Among other theatrical works that he produced, he mounted a long series of popular Victorian burlesques at the Gaiety, engaging Meyer Lutz to compose original scores for them. He also produced operettas, plays and other works. These productions made stars of Nellie Farren and several others. At the Gaiety, in 1878, Hollingshead was the first theatre manager to light his auditorium with electric lights. Hollingshead
204-531: A set at Elstree Studios . 51°31′04″N 0°07′04″W / 51.5179°N 0.1178°W / 51.5179; -0.1178 High Holborn High Holborn ( / ˈ h oʊ b ər n / HOH -bərn ) is a street in Holborn and Farringdon Without , Central London , which forms a part of the A40 route from London to Fishguard . It starts in the west at the eastern end of St Giles High Street and runs past
238-642: A theatre in 1886 and was used as a sporting club for some time. The building was damaged by bombing in February 1941 during World War II and was later demolished and the site cleared. At various times the theatre was known as: The New Royal Amphitheatre (1867); the Royal Amphitheatre and Circus (1867); the Grand Cirque & Amphitheatre (1873); the National Amphitheatre (1873); Newsome's Circus (1874);
272-544: A variety of equestrian, vaudeville and dramatic performances. The theatre was 76 ft wide and 130 ft in length and had three entrances: the Grand entrance was wide and roomy with arches to support the ceiling and was decorated in the Pompeian style . An 'extremely handsome stone staircase' with carved balustrades lead to the boxes. All three entrances were fireproof and all the staircases were constructed of stone; especial care
306-483: A venue primarily for musical burlesque , variety, continental operetta , including several operettas by Jacques Offenbach , and light comedy, under Hollingshead's management, from 1868 to 1886. The theatre opened on 21 December 1868, with the successful Robert the Devil , by W. S. Gilbert , a burlesque of the opera Robert le Diable . Gilbert also wrote An Old Score for the theatre in 1869. Another early production
340-639: A writer full-time. By 1855, Hollingshead was married with two children. He died in London on 9 October 1904 at the age of 77. Hollingshead started his journalism career in 1854 under the tutelage of Charles Dickens at Household Words magazine and then under W. M. Thackeray at Cornhill Magazine . In 1861, he acted as the "special correspondent" for The Morning Post during the London famine. He also wrote essays, short stories and dramatic criticism. Beginning in 1864, and for several years thereafter, he contributed to Punch magazine , mostly writing on political topics related to social reform. He advocated
374-699: The Central line which runs beneath High Holborn. Landmarks along High Holborn include the Cittie of Yorke , at no. 22, and the Embassy of Cuba , at no. 167. The street was a "Feature site" for introduction of the Camden bench . High Holborn is the highest point in the City of London . At 22 metres (72 feet) above sea level, High Holborn is the lowest county top in England, if one considers
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#1732908469453408-519: The Kingsway and Southampton Row , becoming Holborn at its eastern junction with Gray's Inn Road . The western stretch, as far as Drury Lane , was formerly known as Broad Street. On High Holborn, traffic (including cycles and buses) flows one-way westbound from its junction with Drake Street to its western end, and flows both ways for the remainder. The nearest London Underground stations are Tottenham Court Road , Holborn , and Chancery Lane , all on
442-637: The National Sporting Club and The Stadium Club. It was here at the Holborn Stadium in 1907 during the Tommy Burns - Gunner Moir fight that Eugene Corri became the first British referee to officiate inside the boxing ring, while as The Stadium Club the venue became a popular boxing venue and was the setting for a match in Hitchcock 's film The Ring (1927), although the scene was probably filmed on
476-470: The 1880s, Hollingshead returned to writing, producing books mostly about the theatre, including Plain English (1880), and Footlights (1883). Beginning in the 1890s, he wrote a number of memoirs and more books about the theatres that he had managed. In 1892, he also published The Story of Leicester Square , tracing the history, geography and architecture of the London neighbourhood from earliest times through
510-591: The Alhambra to manage the newly redesigned Gaiety Theatre . In addition, Hollingshead managed shows at the Opera Comique from time to time. He produced a revival of Gilbert's Princess Toto there in 1881, paired with Rutland Barrington 's short play, Quid Pro Quo . In 1868, Hollingshead took over the Gaiety Theatre, which had been a large music hall . The auditorium was rebuilt and, under Hollingshead, it became
544-447: The City a county. [REDACTED] Media related to High Holborn at Wikimedia Commons 51°31′04″N 0°07′11″W / 51.51766°N 0.11983°W / 51.51766; -0.11983 This London road or road transport-related article is a stub . You can help Misplaced Pages by expanding it . John Hollingshead John Hollingshead (9 September 1827 – 9 October 1904)
578-403: The Gaiety burlesques from 1868. In addition to these burlesques, the theatre produced comedies such as Congreve's Love for Love , Vanbrugh's Relapse , The Grasshopper (1877, an adaptation by Hollingshead of Henri Meilhac and Ludovic Halévy 's La Cigale ), and a number of farces. Nevertheless, burlesque and risque operettas were the normal fare at the Gaiety. Hollingshead called himself
612-671: The Holborn Amphitheatre (1874) - under the management of John Hollingshead ; the Grand Central Skating Rink (1876-7); Hamilton's Royal Amphitheatre (1878); the Royal Connaught Theatre (1879); the Alcazar Theatre (1882); The International Theatre (1883), and the Holborn Theatre (1884). The venue ceased to perform live theatre in 1886, after which it was variously called The West Central Hall; Holborn Stadium,
646-475: The date of publication. His memoir entitled My Lifetime , published in 1895, explores his life and career through that date. In the 1860s, Hollingshead turned to theatre management. He helped establish the Alhambra Theatre and was the stage manager there from 1865 to 1868, in addition to producing musical pieces and ballets there. He made it famous for its sumptuous staging, alluring corps de ballet and
680-644: The early 1870s were Night and Morning and Led Astray . Boucicault's Don Caesar de Bazan was travestied in Byron's Little Don Caesar de Bazan . In the late 1870s, the theatre became the first to install electric lighting on its auditorium. Hollingshead's productions there included The Bohemian G-yurl and the Unapproachable Pole (1877), Byron's farce Little Doctor Faust (1878) Byron's Handsome Hernani, or The Fatal Penny-Whistle (1879); and Robbing Roy (1879). Meyer Lutz 's Ali Baba and The Forty Thieves
714-517: The first collaboration between Gilbert and Sullivan , played at the theatre in 1871, with Farren as Mercury and J. L. Toole in the title role. Offenbach's Les deux aveugles played in 1872, starring Fred Sullivan . This was followed by such works as Shilly-Shally (1872) by Anthony Trollope and Charles Reade ; Antony and Cleopatra (1873); and The Battle of Life , (based on Charles Dickens 's Christmas story of that title). Two other Dion Boucicault plays produced by Hollingshead's company in
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#1732908469453748-522: The glories of the peaceful sawdust ring. On the site of the Metropolitan Horse Bazaar, Holborn (nearly opposite the Inns of Court Hotel), is now rapidly progressing towards completion an amphitheatre, which will vie with any building in London in the beauty and elegance of its decorations and its admirable arrangements for the safety and comfort of the public. The Royal Amphitheatre, which will be under
782-430: The house. The amphitheatre held about 700 people. The front row in the gallery held 150 stalls, with each seat having a stuffed cushion with a comfortable back. The remainder of the gallery seated about 550 people with standing room for about 200 more and had a large promenade fifteen feet wide behind. The stage was only 20 feet deep, but the owners considered this adequate for the type of plays they intended to stage. Before
816-440: The management of Mr. Thomas M'Collum, is announced to be opened on the 25th inst.' The curve of the amphitheatre was extremely imposing with its ceiling constructed of stretched and illuminated canvas with a large centre flower radiating from the sunlight. There were two separate sets of stables for the equestrian events and sixteen dressing rooms for use by both the equestrians artistes and the actors. The opening night audience saw
850-553: The music for many of its most successful burlesques. In 1870, Henry James Byron 's Uncle Dick's Darling starred a young Henry Irving . This was the last play that theatre buff Charles Dickens saw before his death. Other pieces at Hollingshead's Gaiety in 1870 included Dot ( Dion Boucicault 's version of The Cricket on the Hearth ); and The Princess of Trebizonde , based on the Jacques Offenbach operetta (1870). Thespis ,
884-478: The notorious front-of-house Promenade bar, where the young ladies of the ballet hinted at more than terpsichorean pleasure. During his tenure at the Alhambra, Hollingshead introduced London audiences to the Can-Can . Hollingshead is also credited with inventing the practice of holding general matinées. Hollingshead was one of the first London theatre managers to eliminate fees for programmes and coat check. He left
918-451: The principles of Mill and Jeremy Bentham . One of his best-known essays was an 1857 piece called "The City of Unlimited Paper", which became famous during the monetary panic of 1857. In the 1860s he was on the staff of Good Words under Norman Macleod as editor. Hollingshead wrote a number of books from the 1850s into the 1860s, including On the canal: a narrative of a voyage from London to Birmingham (1858); Under Bow Bells (1860,
952-416: The second row in a stage box would not be able to see the stage or the ring of the amphitheatre. Instead, Smith used a different design, placing the dress circle at the side where the private boxes would normally have been placed, and put the private boxes in front of the house. Also, Smith placed one row of stalls holding 200 patrons with flip-up seats in front of the 26 private boxes which ran entirely round
986-470: The stage was the orchestra pit from which music could be provided for both dramatic performances on the stage and equestrian displays in the ring. A crystal sunlight 9 feet in diameter and holding 900 gas burners was designed to illuminate the whole auditorium. The operetta La Vie parisienne by Offenbach received its English premiere at the theatre in March 1872 in an adaptation by F. C. Burnand and with
1020-481: Was Alfred Thompson 's Columbus!, or the Original Pitch in a Merry Key (1869). Nellie Farren starred in both Columbus and Robert the Devil . She continued as "Principal Boy" at the Gaiety for the next 25 years, first under Hollingshead and then under George Edwardes . Other Gaiety stalwarts were Edward Terry , Kate Vaughan and Fred Leslie . The theatre's music director, Meyer Lutz , composed or arranged
1054-474: Was an English theatrical impresario , journalist and writer during the latter half of the 19th century. After a journalism career, Hollingshead managed the Alhambra Theatre and was later the first manager of the Gaiety Theatre, London . Hollingshead also wrote several books during his life. An innovative producer, Hollingshead brought Gilbert and Sullivan together in 1871 to produce their first joint work,
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1088-572: Was born in Hoxton , Greater London, the son of Henry Randall Hollingshead. He was educated at Homerton. He first worked as a bookkeeper for a soft goods company in London in the early 1850s while publishing political essays on finance and social reform. He soon entered into a partnership as a clothing merchant. During this time, Hollingshead and his friend Moy Thomas began publishing a penny paper called The Mail that proved unsuccessful. In 1854, he decided to close his clothing business and begin working as
1122-619: Was performed in 1880 (Hollingshead had produced a highly successful charity production called The Forty Thieves at the Gaiety in 1878), and a burlesque of Aladdin , by Robert Reece , in 1881. These were followed by Little Robin Hood (1882), a burlesque by Reece, Blue Beard (1882), Ariel (1883, by F. C. Burnand , based on The Tempest ), Don Yuan , Byron's Little Don Caesar de Bazan (a send-up of Boucicault's play), Mazeppa (1884), Little Jack Sheppard (1885), Monte Cristo Jr. (1886), and dozens of others. John D'Auban choreographed
1156-486: Was taken to provide facilities for clearing the building in a few minutes in case of fire, while various doorways and entrances were also fitted with steel shutters. Inside, the width across the auditorium from box to box was 60 ft, while the Royal Box was located in the centre of the house facing the stage, with its retiring room immediately behind. There were no stage boxes as the architect discovered that anyone seated in
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