Her Majesty's Theater is a West End theater located in Haymarket in Westminster City, London. The building was designed by Charles J. Phipps and built in 1897 for actor-manager Herbert Beerbohm Tree, who founded the Royal Academy of Dramatic Art in the theater. In the early decades of the 20th century, Tree produced the spectacular production of Shakespeare and other classical works, and the theater hosted the premiere by great playwrights such as George Bernard Shaw, J. M. Synge, NoÃÆ'½ Coward and J. B. Priestley. Since the First World War, the vast stage has made the theater suitable for large-scale music production, and the theater has specialized in organizing musicals. This theater has become the venue for the musical theater, especially the sensation of the First World War Chu Chin Chow and current production Andrew Lloyd Webber The Phantom of the Opera, which has been playing continuously at Her Majesty's since 1986.
The theater was founded by architect and playwright John Vanbrugh, in 1705, as the Queen's Theater . Legitimate dramas unaccompanied by music are prohibited by law at all but two London patent theaters, and thus this theater soon becomes opera house. Between 1711 and 1739, over 25 operas by George Frideric Handel aired here. In the early 19th century, the theater hosted the opera company which moved to Theater Royal, Covent Garden, in 1847, and presented the first London show of Mozart La clemenza di Tito , CosÃÆ'Â ¬ fan tutte and Don Giovanni . It also hosted Ballet from the Noble Theater in the mid-19th century, before re-hosting London premieres such as Opera Bizet and Wagner's Ring Cycle .
The name of the theater changes with the sex of the king. It first became King's Theater in 1714 on accession George I. It was renamed Her Majesty's Theater in 1837. Recently, the theater was known as His Majesty's Theater from 1901 to 1952, and it became His Majesty's accession to Elizabeth II. The theater capacity is 1,216 seats, and the building is Grade II * registered by English Heritage in 1970. Really Useful The cinema has owned the building since 2000. The ground below is a long-term lease from Crown Estate.
Video Her Majesty's Theatre
History
The late seventeenth century was an intense period of competition among London actors, and in 1695 there was a split at the United Company, which had a monopoly over drama performance in their two theaters. Dramatic and architect John Vanbrugh sees this as an opportunity to break the patent theater duopoly, and in 1703 he acquired a stable base base, costing Ã, Â £ 2000, for the construction of a new theater at Haymarket. In the new business, he hopes to increase the share of profits to be given to writers and actors. He collects money by subscription, probably among the members of Kit-Cat Club:
To restore them [ie, the Thomas Betterton company], therefore, for their Estimation, a new Project will form their magnificent theater in Hay-Market, by Sir John Vanbrugh, where he picks up a Thirty Qualified Person, each of the hundred Pounds, in consideration to which each Customer, for his/her own life, shall be admitted to any Entertainments which shall be made public therein, without further Payment to the Entrance Entrance.
--John Vanbrugh notices a subscription to a new theater
He joined the company by his lead partner and manager, William Congreve and co-operative actor led by Thomas Betterton.
Theater provides the first alternative to Theater Royal, Drury Lane, built in 1663 and Lincoln's Inn, founded in 1660 (pioneer of the Royal Theater, Covent Garden, built in 1728). Theater site is the second oldest site in London that is still in use. These three post-interregnum theaters define the form and use of modern theater.
Theater Vanbrugh: 1705-1789
The land for the theater was held in a renewable lease in 1740 and eventually owned, as it is today, by the Crown Estate. The building was delayed by the need to get the front of the road, and an entrance of three bays produced a 130-foot (39.6 m) brick and 60 feet (18.3 m) wide brick. Colley Cibber describes the audiences' equipment as a luxury but a poor play facility.
Vanbrugh and Congreve accepted Queen Anne's authority to form Comedian Company on December 14, 1704, and the theater was opened as Queen Theater on April 9, 1705 with the Italian singer imported at Gli amori d'Ergasto ( The Loves of Ergasto ), an opera by Jakob Greber, with an epilogue by Congreve. This is the first Italian opera performed in London. Opera failed, and the season fought through May, with the revival of drama and opera. The first new drama done was The Conquest of Spain by Mary Pix. The theater proved too big for the voice of the actors to be carried across the auditorium, and the first season failed. Congreve leaves, Vanbrugh buys another partner, and the actors reopen Lincoln's Inn Fields theater in the summer. Although early production incorporated oral dialogue with incidental music, the flavor grew among the nobles to the Italian opera, which was actually sung, and the theater became devoted to opera. As he became increasingly involved in the construction of the Blenheim Palace, Vanbrugh's management in the theater became increasingly chaotic, pointing out "many signs of confusion, inefficiency, loss of opportunity, and poor judgment". On 7 May 1707, suffering heavy losses and operational costs, Vanbrugh was forced to sell the fourteen-year-old theater rental to Owen Swiny with huge losses. In December of that year, the Lord Chamberlain Office ordered that "all Operas and other Musicall performances be performed for the future only at Her Majesty's Theater in Hay Market" and banned non-musical drama performances there.
After 1709, the theater was devoted to Italian opera and was sometimes known informally as the Haymarket Opera House. Young George Frideric Handel produced his English title, but, Rinaldo, on February 24, 1711 at the theater, featuring two of the leading castrati of the era, Nicolo Grimaldi and Valentino Urbani. This is the first Italian opera created specifically for the London stage. The work was well received, and Handel was appointed as the resident composer for the theater, but the losses continued, and Swiney fled abroad to escape from his creditors. John James Heidegger took over the management of the theater and, starting in 1719, began to expand the stage through the arch to the homes south of the theater. A "Royal Academy of Music" was formed by subscribing from wealthy sponsors, including Prince of Wales, to support Handel's production in the theater. Under this sponsorship, Handel undertook a series of more than 25 original operas, continuing until 1739 Handel also became a partner in management with Heidegger from 1729 to 1734, and he contributed to incidental music for the theater, including for the revival of Ben Jonson's The Alchemist , opened on January 14, 1710.
At the accession of George I in 1714, the theater was renamed to King's Theater and remained so named during the succession of the male king who occupied the throne. Currently only two patent theaters are allowed to do serious drama in London, and have no patent letter, the theater remains associated with the opera. In 1762, Johann Christian Bach traveled to London for the premiere of three operas at the theater, including Orione on 19 February 1763. This built his reputation in England, and he became a music teacher for Queen Charlotte.
In 1778, the lease for the theater was moved from James Brook to Thomas Harris, Theater Royal stage manager, Covent Garden, and to Richard Brinsley Sheridan playwright for £ 22,000. They pay for interior renovation by Robert Adam in the same year. In November 1778, The Morning Chronicle reported that Harris and Sheridan had
... at considerable exposure, almost entirely new to building a home audience, and making major changes, calculated parts for lighter rendering, elegant and fun, and a section for corporate convenience and convenience. The fronts are decorated with two pictures painted by Gainsborough, which are very beautiful and beautiful; heavy columns that give the house so dreary an aspect that more closely resembles a large grave or a place for tomb ruins, than the theater, is omitted.
--November 1778, The Morning Chronicle
The repair cost is not matched with box office receipts, and the partnership is disbanded, with Sheridan buying his partner with a mortgage at the Ã, £ 12,000 theater gained from banker Henry Hoare.
One member of the company, Giovanni Gallini, has made dà © à © but in the theater in 1753 and has ascended to the position of the dancing master, earning an international reputation. Gallini tried to buy Harris's stock but was rebuffed. He is now buying a mortgage. Sheridan quickly became bankrupt after placing the financial affairs of the theater in the hands of William Taylor, a lawyer. The next few years saw the struggle to control the theater and Taylor bought Sheridan's interest in 1781. In 1782 the theater was renovated by Michael Novosielski, former painter of the scene in the theater. In May 1783, Taylor was arrested by his creditors, and forced sales took place, with Harris buying the lease and many of its effects. Further legal action shifts interest in the theater to the supervisory board, including Novosielski. The guardians acted with a blatant neglect of the needs of the theater or other creditors, only wanting to enrich themselves, and in August 1785, Lord Chamberlain took over the company, for the benefit of the creditors. Gallini, meanwhile, has become a manager. In 1788, Lord Chancellor observed "that there arise in all the processes that honor this business, the desperate desire of property, and that it may be consumed in the courts of the very... [interested parties] seem to apply for help". The show went through, with a receipt of a box taken by Novosielski, rather than given to Gallini to run the house. Money continues to be squandered in litigation without interruption or abuse. Gallini tried to defend the theater, but he was forced to hire amateur players. The World describes the performance as follows: "... dance, if such can be called a heavy cavalry movement." It hissed very abundantly. " At other times, Gallini had to defend himself against an unsatisfied audience who accused the stage and destroyed the fittings, as the company ran for their lives.
Fire
The theater was burned on 17 June 1789 during the twilight practice, and the dancers escaped from the building when the beams fell onto the stage. The fire was deliberately installed on the roof, and Gallini offered a prize of £ 300 to catch the culprit. With the destruction of the theater, each group put their own plans in place. Gallini obtained a license from Lord Chamberlain to perform the opera at the nearby Little Theater, and he established a partnership with R. B. O'Reilly to acquire land in Leicester Fields for a new building, which would also require a license. Both quarreled, and each then planned to seize control of the business from the others. Authorities refused to give them one of the patents for Leicester Fields, but O'Reilly was granted a four-year license to wear an opera on Oxford Street Pantheon. This, too, would have burned to the ground in 1792. Meanwhile, Taylor reached an agreement with the creditors of King's Theater and sought to buy the remainder of the lease from Edward Vanbrugh, but this is now promised to O'Reilly. Further complications arise when the theater needs to expand to the adjacent ground that now belongs to Taylor's supporters. The scene was set for a further war of attrition between tenants, but at this point O'Reilly's first season in the Pantheon failed miserably, and he fled to Paris to avoid his creditors.
In 1720, Vanbrugh's direct connections with the theater had been discontinued, but leases and leases had been transferred to his family and his family through a series of trust and assistance, with Vanbrugh himself building a new home in Greenwich. After the fire, the Vanbrugh family's long relationship with the theater was ended, and all their leases were handed over in 1792.
Second theater: 1791-1867
Taylor completed a new theater on site in 1791. Michael Novosielski was once again chosen as the architect for the theater on an enlarged site, but the building was described by Malcolm in 1807 as
fronted by a dungeon in grunt work, with the start of a remarkable Doric building, consisting of three pillars, two windows, an entablature, pediment, and balustrade. This, if it continues, will contribute greatly to London's splendor; but that unfortunate fraction is destined to stand as a blob of abominations and unreasonable brick buildings, which I can not wait to draw.
- Critic Malcolm, quoted in Old and New London (1878)
Lord Chamberlain, a supporter of O'Reilly, refused a performance license for Taylor. The theater was opened on March 26, 1791 with live entertainment and personal dance performances, but was not allowed to be opened to the public. The new theater was deeply indebted and spanned the separate land plots rented to Taylor by four different owners with different revisions. As a later manager of the theater writes, "In the history of property, there may be no parallel instances where the legal labyrinth has been so difficult to copy." The meetings were held at Carlton House and Bedford House trying to reconcile the parties. On August 24, 1792, the Deed of General Trust of Opera was signed by the parties. The general management of the theater will be entrusted to the noble committee, appointed by the Prince of Wales, who will then appoint a general manager. Funds will be disbursed from profits to compensate creditors of the King's Theater and the Pantheon. The committee never met, and management moved to Taylor.
William Taylor
The first public performance of the opera in the new theater took place on January 26, 1793, a dispute with Lord Chamberlain over a completed license. This theater, at the time, was the largest in the UK, and became the home of the Royal Theater, the company of Drury Lane while the company's home theater itself was rebuilt between 1791-94.
From 1793, seven small houses on the east side of the theater overlooking the Haymarket were demolished and replaced by a large concert hall. It was in this room that Joseph Haydn gave a series of concerts, under the sponsorship of Johann Peter Salomon, on his second visit to London in 1794-95. He presented his own symphonies, some of which were premiered, performed on their own, and paid £ 50 each for 20 concerts. He was exhibited in London and returned to Vienna in May 1795 with 12,000 florins.
With the departure of the company Drury Lane in 1794, the theater returned to the opera, hosting the first London show of Mozart La clemenza di Tito in 1806, CosÃÆ'¬ fan tutte and > Die ZauberflÃÆ'¶te in 1811, and Don Giovanni in 1816. Between 1816 and 1818, John Nash and George Repton made changes to the faÃÆ'§ade and increased the auditorium capacity to 2,500. They also added a shopping center, called the Royal Opera Arcade, which has survived the fires and renovations and is still there. It runs along the back of the theater. In 1818-20, the first premiere of opera Gioachino Rossini Il barbiere di Siviglia, Elisabetta, regina d'Inghilterra, L'italiana di Algeri, La Cenerentola and Tancredi took place, and the theater was known as the Italian Opera House, Haymarket in the 1820s.
In 1797, he was elected a Member of Parliament for Leominster, a position that gave him immunity from his creditors. When the parliament was dissolved in 1802, he fled to France. Later, he returned, and became a Member of Parliament for Barnstaple from 1806 to 1812 while continuing his relationship with the theater. Taylor pays little from acceptable receipts for players, or composers, and lives for most of his management period at King's Bench, a debtor prison at Southwark. Here he kept an apartment next to Lady Hamilton and lived in luxury, entertaining with extravagance.
John Ebers
John Ebers, a book dealer, took over the management of the theater in 1821, and seven more premier London performances from the Rossini opera ( La gazza ladra, Il turco in Italy, MosÃÆ'¨ at Egitto, Otello, La donna del lago , Matilde in Shabran and Ricciardo e Zoraide ) occurred there in the next three years. Ebers rented out theaters to Giambattista Benelli in 1824, and Rossini was invited to perform, remaining for the five-month season, with his wife Isabella Colbran performing. Two more operas, Zelmira and Semiramide, received their first British appearance during the season, but the theater continued to suffer huge losses and Benelli escaped without paying either composer or artist. Ebers engaged Giuditta Pasta for the 1825 season, but he became involved in lawsuits which, combined with the huge increase in theatrical leases, forced him into bankruptcy, after which he returned to the business of selling his book.
Pierre FranÃÆ'§ois Laporte
In 1828, Ebers was replaced as a theater manager by Pierre FranÃÆ'§ois Laporte, who held the position (with a short gap in 1831-33) until his death in 1841. Two of the Parisian operas Rossini ( Le comte Ory Le siÃÆ'¨ge de Corinthe ) held their first British performances at the theater during this period, and Laporte was also the first to introduce the opera Vincenzo Bellini ( La sonnambula, Norma and I puritani ) and Gaetano Donizetti ( Anna Bolena, Lucia di Lammermoor and Lucrezia Borgia ) to the British public. Under Laporte, singers like Giulia Grisi, Pauline Viardot, Giovanni Battista Rubini, Luigi Lablache and Mario made their stage debut at the theater in London. Among the musical directors of this period are Nicolas Bochsa, a famous and eccentric singer. He was appointed in 1827 and remained for six years in this position. When Queen Victoria ascended the throne in 1837, the theater name was changed to Her Majesty's Theater, the Italian Opera House. That same year, Samuel Phelps made his London but as Shylock at The Merchant of Venice in the theater, also played in another Shakespeare drama here.
During the 1840s, Dion Boucicault has five dramas produced here: The Bastile [sic], "after-pieces" (1842), Old Heads and Young Hearts (1844), The Confidence (1848), and The Knight Arva (1848). In 1853,
In 1841, a dispute arose over Laporte's decision to replace Baritone Antonio Tamburini with the new singer, Colletti. The audience stormed the stage, and the players formed a 'revolutionary conspiracy'.
Benjamin Lumley
Laporte died suddenly, and Benjamin Lumley took over management in 1842, introducing London viewers to the old Donizetti opera, Don Pasquale and La fille du rà ©  © giment. Initially, the relationship between Lumley and Michael Costa, the main conductor in Her Majesty is good. Verdi Ernani , Nabucco and I Lombardi received their British premiere in 1845-46, and Lumley commissioned my masnadieri of the composer. The Opera received its world premiere on July 22, 1847, with Swedish opera diva Jenny Lind in the role of Amalia, and the British premiere of two more Verdi operas, I due Foscari
Lumley involves Michael Balfe to lead the orchestra and enter negotiations with Felix Mendelssohn for the new opera. Jenny Lind has made her English title but on May 4, 1847 in the role of Alice at Giacomo Meyerbeer
From the early 1830s to the late 1840s Her Majesty's Theater hosted the triumph of the romantic ballet era, and theater theatre ballet company was considered the most famous in Europe, aside from Ballet du ThÃÆ' © ÃÆ'  ¢ tre de l 'Acadà ©  © Royale de Musique noodles in Paris. The famous ballet winner Jules Perrot began performing ballet at Her Majesty's in 1830. Lumley appointed him the Premier MaÃÆ'®tre de Ballet (head choreographer) to the theater in 1842. Among his ballet works were (1843), La Esmeralda (1844), and Catarina, ou La Fille du Bandit (1846), [ as well as the famous diversion of Pas de Quatre (1845). Other ballet masters created works for Her Majesty's Theater ballet during the romantic ballet period, especially Paul Taglioni (son of Filippo Taglioni), who performed ballet including Coralia, ou Le Chevalier inconstant (1847). ) and Electra (1849, the first ballet production to utilize electric lighting). Arthur Saint-Là ©  © staged works such as La VivandiÃÆ'¨re (1844), Le Violin du Diable (1849), and Le Jugement de PÃÆ' ¢ ris (1850), which is considered a sequel of sorts for Pas de Quatre .
Italian composer Cesare Pugni was designated as the Ballet Music Composer to the theater in 1843, a position created for him by Lumley. From 1843 to 1850, he composed almost every new ballet presented at the theater. Pugni remains the most prolific composer of this genre, having composed more than 100 original ballet, and composing divertissements and incidental dances that are often performed as a diversion during the intermission of opera performances in the theater. Throughout the era of romantic ballet, the theater presents performances by famous ballerinas, including Marie Taglioni, Carlotta Grisi, Fanny Elssler, Lucile Grahn, and Fanny Cerrito, performing in the works of Perrot, Taglioni and Saint-LÃÆ'Â © in.
J. H. Mapleson
From 1862 to 1867, the theater was run by James Henry Mapleson, featuring Italian, French and German operas, including the English premiere of La forza del destino, MÃÆ' © dà ©  © e , Faust and The Merry Wives of Windsor and promotes singers like Mario, Giulia Grisi, De Murska, ThÃÆ'  © rÃÆ'¨se Tietjens, Antonio Giuglini, Charles Santley and Christine Nilsson. On the night of December 6, 1867, the theater was destroyed by fire, allegedly caused by overheating stoves. Only the empty walls of the theater were left, and most of the adjacent shops at Pall Mall, and the Clergy Club hotel on Charles Street, were damaged with varying degrees of severity. The Royal Opera Arcade, on the west side, survived with only superficial damage. With the destruction of the theater, Mapleson took his company to Theater Royal, Drury Lane.
In the 1850s, with the romantic ballet era over, the ballet's main personalities, such as Perrot, Saint-LÃÆ' Â © on, Taglioni, and composer Pugni, joined the Tsar Imperial Ballet of St. Petersburg, Russia. Ballet in London suffered a considerable decline beginning with a fire at Her Majesty's Theater, a decline that lasted until the end of the 19th century. Ballets in London were not raised until the early 20th century, when dancers such as Adeline GenÃÆ'Â © e began performing. The theater ballet company found a new home in Old Vic and immediately took the Ballet Vic-Wells name. Then, moving mainly to Wells Welller's Theater, the company is known as Sadler's Wells Ballet. Eventually the entourage began performing at the Royal Opera House and became the Royal Ballet, as it is known today.
Third theater: 1868-1896
The third building was built in 1868 at a cost of 50,000 pounds, in the old theater shell, for Lord Dudley. It was designed by Charles Lee and Sons and their partner, William Pain. They have taken over the practice of John Nash in his retirement. The new theater is designed to be less vulnerable to fire, with brick firewalls, iron roof truss and Dennett's gypsum-patent floors. The auditorium has four levels, with a stage large enough for the largest spectaculars. For opera, the theater sits 1,890, and for the drama, with the orchestra pit removed, 2,500. As a result of the lease dispute between Dudley and Mapleson, and the decline in ballet popularity, the theater remained dark until 1874, when it was sold to the Revivalist Christian group for £ 31,000.
Mapleson returned to Her Majesty's in 1877 and 1878, after a devastating attempt to build 2,000 National Opera House Buildings on a site that was later used to build Scotland Yard. At the return of the company, all theatrical fixtures have been removed, including chairs, rugs and even wallpaper. Ã, Â £ 6,000 was spent to equip the theater, and on 28 April 1877 the building returned to theatrical use with the opening of opera Vincenzo Bellini Norma . The premiere of Bizet in London Carmen took place here on June 22, 1878, and in the following seasons the theater hosted the Carl Rosa Opera Company (Rosa's wife, Euphrosyne Parepa, has made his name in a partial opera in Her Majesty's) and the French drama program and the light opera. The company was the first to produce Carmen in English, at the theater in February 1879, starring Selina Dolaro in the title role and Durward Lely as Don JosÃÆ'Â ©. In 1882, the theater hosted the premiere in London Ring Ring .
Mapleson returned in 1887 and 1889, but The Times commented that the repertoire consists of "works that have long ceased to attract large public, the singers are exclusively second-class quality, and the performance standards are very low ". Rigoletto , on May 25, 1889, was the last opera performance given at home.
Maps Her Majesty's Theatre
Phipps Cinema: 1897-present
With the rapid advances in theatrical technology created during this period, the 1868 theater quickly became obsolete, and the sub-lease theater, still held by the Dudley family, would end in 1891. The Forest, Forest and Land Revenues Commissioners (pioneers of the Crown Estate) wanted an entire block where the theater stood for rebuilding, except for the Royal Arcade, where the lease did not end until 1912. Problems encountered in obtaining all the buildings and in the financing of the scheme, but the theater and surrounding buildings were destroyed in 1892. The plans were commissioned from architect Charles J. Phipps for a theater and hotel. In February 1896 an agreement was reached with Herbert Beerbohm Tree for the establishment of the theater at a cost of Ã, £ 55,000. The plan was approved in February 1897, and on July 16, 1896, the foundation stone of the new theater was laid. Phipps died in 1897, and the theater was his last work.
Architecture
The theater is designed as a symmetrical couple with Carlton Hotel and a restaurant on an adjacent site, now occupied by New Zealand House. The front forms three parts, each of the nine bays. The hotel occupies two parts, one theater, and two buildings united by a cornice on the ground floor. The buildings rise into four floors, with the attic floor above, overcome by a large square dome in a style inspired by the French Renaissance. This theater has the Corinthian pillars on the first floor, up to the second floor, forming a loggia in front of the circle foyer. It is above the canopy above the main ground floor entrance. Theater is located on the east-west axis. The stage at the west end is 49 feet (14.9 m) deep and 69.5 feet (21.2 m) wide, and supposedly the first flat, rather than raked. The interior was designed by consultant architect W. H. Romaine-Walker (1854-1940), after Opera at Versailles by Gabriel. Stalls and holes are inserted on the ground, with two levels of cantilevered above accommodating the clothing and circle of families on the first level, and the upper circle, amphitheater, and gallery at the level above. Overall, there are 1319 seats. Contemporary opinions are critical of the project. Edwin Sachs wrote in his guide to the theater in 1897, "The treatment is considered in the French Renaissance style and the stone has been used throughout. But the details can not be called satisfactory, nor does the outside architecture reveal the purpose of the building."
Modern opinions about the theater are more generous, with Heritage English describing the building as the best work of Phipps and one of the finest theaters planned in London. The building was Grade II * registered in January 1970. Appreciation of the building came too late to save the adjacent hotel from redevelopment as the new High Commission for New Zealand, completed in 1963 by British architect Robert Matthew, Johnson Marshall and Partners, who also designed the Commonwealth Institute. In 1995, it also included Grade II listed as a fine example of 1960s architecture. The 200-year-old Royal Opera Arcade, built by Nash and Repton, is all that survived the second theater and is the earliest example of the London arcade.
Performance
The theater is currently open on April 28, 1897. Herbert Beerbohm Tree built the theater with the advantage of her tremendous success at the Haymarket Theater, and she owns, arranged and stayed at the theater from its construction until her death in 1917. For her personal use she has a banquet room and a living room mounted in a large, central, square-style French dome. This building does not specialize in opera, although there are several opera performances in the early years. The theater opens with the dramatization of Gilbert Parker The Seats of the Mighty . The novel adaptations by Dickens, Tolstoy, and others form an important part of the repertoire, along with the classic works of MoliÃÆ'¨re and Shakespeare. The theater also hosted the inaugural launch of JM Synge's The Tinker's Wedding on November 11, 1909 and George Bernard Shaw Pygmalion , with the Tree as Henry Higgins and Mrs. Patrick Campbell as Eliza, at 1914. The production of trees is known for its complex and spectacular landscapes and effects, often including living animals and indigenous grasses. It has remained popular and profitable, but in the last decade, Tree's acting style has become more out of date, and many of its plays have bad reviews. The tree defends itself from critical criticism, showing its continued popularity at the box office until his death.
In 1904, Tree founded the Academy of Dramatic Arts (later RADA), which spent a year based on the theater before moving in 1905 to Gower Street in Bloomsbury. The tree continues to take Academy graduates to his company in Mulia, employing about 40 actors this way in 1911.
Theatrical facilities naturally lend themselves to the new genre of musical theater. Chu Chin Chow opened in 1916 and ran to an astonishing world record of 2,235 performances (almost twice as long as the previous record for the musical theater - a record he held up to be surpassed by Salad Days I was in 1955). The great production of the drama with a large cast is also done to His Majesty. George and Ira Gershwin's Oh, Kay! had a London premiere on 21 September 1927. It starred Gertrude Lawrence and John Kirby, and ran for 213 shows. Operant Coward does not exist Bitter Sweet enjoys 697 performances starting July 18, 1929. J. B. Priestley's own theater adaptation The Good Companions aired on May 14, 1931.
The musical continued to dominate in the theater in the post-World War II period, including the transfers of successful Broadway productions Following Girls (1945, 572 performances) and musicals Lerner and Loewe Brigadoon 1949; 685 performances) and Paint Your Wagon (1953; 478 performances). Leonard Bernstein's West Side Story opened in December 1958 to run 1,039 performances, transferring from Broadway through Manchester's Opera House. The premiere of London Fiddler on the Roof was on February 16, 1967, starring Chaim Topol, and production ran in Her Majesty's for 2,030 performances. Forty years after the early adaptation, the AndrÃÆ' Â © Previn's music adaptation of The Good Companions aired on July 11, 1974, followed by Andrew Lloyd Webber and Alan Ayckbourn who initially failed collaboration, Jeeves , on April 22, 1975, who had enjoyed great success.
John Cleese organized Poke in the Eye as a benefit to Amnesty International in the theater in 1976, and broadcast as Pleasure to Your Majesty . This is the first of The Secret Policeman's Balls, organized by and starring by players like Peter Cook, Graham Chapman, and Rowan Atkinson. It was also home to various popular ITV series Live from Her Majesty's, which ran on television from 1983 to 1988. It was in this program that Tommy Cooper collapsed and died onstage in 1984.
This theater is one of 40 theaters featured in the DVD series of the Great West End DVD documentary, presented by Donald Sinden.
Phantom of the Opera
The Phantom of the Opera had aired in the world on October 9, 1986 at the theater, winning the Olivier Award for Best New Musical and featuring Sarah Brightman and Michael Crawford, who won an Olivier award for her performance in the title role. This work is still playing in Her Majesty's, celebrating its 25th anniversary in October 2011 and surpassing 10,000 shows in October 2010. This is the second longest West End musical in history (after Les MisÃÆ'Â © rables ). In its continued popularity mark, Phantom was ranked second in a BBC Radio 2 listener's poll of "Nation's Number One Music Nation". This musical is also the longest show on Broadway, made into a movie in 2004 and has been viewed by over 130 million people in 145 cities across 27 countries and earned more than £ 3.2bn ($ 5 billion) in 2011, the entertainment project most successful in history.
"Grand exterior" and "grand interior, with three tiers of gold box and statue around the stage", as well as French Renaissance design, "make it the ideal place for this Gothic story" in Opà © rà © Garnier. The original Victorian stage machine remains under the theater stage. Designer Maria BjÃÆ'¶rnson devised a way to use it "to show the Phantom traveling across the lake as if floating in a sea of ​​fog and fire", in a key scene of music. On May 5, 2008, for the first time on the run, the event was closed for three days. This allows the installation of a better sound system in the theater, consisting of over 6 miles (10 km) of wiring and the placement of 120 auditorium speakers.
The theater capacity is 1,216 seats at four levels. Really Theatful Theaters Group bought it in January 2000 with nine other theaters in London previously owned by Stoll-Moss Group. Between 1990 and 1993, renovations and repairs were done by H.L.M. and C. G. Doubling partnerships. In 2014, Really Useful Movies are Separated from Really Useful Groups and have theater.
Note
References
- Adams, William Davenport. Drama dictionary (1904) Chatto & amp; Windus
- Theater History with lots of archival material (Arthur Lloyd)
- Victoria's other theater and theater profile (Web Victoria)
- Earl, John, and Michael Sell. Guide to the British Theater 1750-1950 , pp.Ã, 116-17 (Trust Cinema, 2000) ISBNÃ, 0-7136-5688-3
- Larkin, Colin (ed). Guinness Who's Who of Stage Musicals (Guinness Publishing, 1994) ISBNÃ, 0-85112-756-8
- Parker, John (ed). Who's Who at the Theater , tenth edition, revised, London, 1947, p. 1184.
External links
- Media related to Her Majesty's Theater on Wikimedia Commons
- Her Majesty's Theater's official website of Really Theatful Theaters Group
- Herbert Beerbohm Tree Archive at Bristol University Theater Collection, University of Bristol
- Theater and environmental videos after 2012 performance
Source of the article : Wikipedia
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